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Dissertations / Theses on the topic 'Church music. Instrumental music. Music theory'
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Traill, John Peter. "The study of instrumental combinations." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670179.
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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.
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Alexander, Dina. "An investigation of the relationship between the music aptitude and the music achievement of beginning instrumental students who are taught according to the principles of Gordon's music learning theory /." Digitized version, 1989. http://hdl.handle.net/1802/7560.
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Thesis (M.A.)--University of Rochester, 1989.Includes bibliographical references (leaves 33-35). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7560
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Arblaster, Winston Vaughn 1984. "Music Theory and Arranging Techniques for the Church Musician." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10831.
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xxix, 356 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.The rising popularity of the use of "contemporary music" for worship in Christian churches has created an ever-growing body of music professionals who, coming largely from a rock-influenced folk idiom, are often untrained in music theory. As the style of music has shifted from the traditional model, stemming from classical genres, to one dominated by popular music, many of these musicians see theory education as impractical or at least unneeded given their particular stylistic approach. In order to address this issue, a method must be developed, departing from standard methods of theory pedagogy to one employing selected concepts and applications pertaining particularly to the context the contemporary worship setting and presenting them in a manner immediately beneficial to these musicians' vocational considerations. This thesis serves as a possible solution by proposing such a method and comparing it to the approaches of three major theory methods on these terms.
Committee in Charge: Dr. Jack Boss; Dr. Timothy Pack; Don Latarski
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Buerer, Harry F. "Winds of praise symphonic band recital /." Theological Research Exchange Network (TREN), 1990. http://www.tren.com.
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Rao, Madhuri Preeti. "Senior Composition Thesis." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/812.
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I had performed a recital of my compositions on April 22, 2016. This thesis is a portfolio of all of my compositions, including the program from my recital, program notes for each piece, and all scores. My senior recital consisted of two distinct halves. The first half was an exploration of abstract, theoretical, and experimental concepts in Western Art Music. The second half was an exploration in synthesizing the Carnatic music system with Western Art Music styles. This half was also an experiment in reversing musical orientalism, which has been historically prevalent in Western Art Music.
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Alley, Zachary W. "Michael Praetorius's Theology of Music in Syntagma Musicum I (1615):A Politically and Confessionally Motivated Defense of Instruments in The Lutheran Liturgy." Bowling Green State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1402316351.
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Oddie, Jonathan J. "Counterpoint, 'fuge', and 'air' in the instrumental music of Orlando Gibbons." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:eae0a0b5-9cf2-41af-bca0-eb8db9cfcb40.
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This thesis develops an analytical approach to the instrumental music of Orlando Gibbons (1583-1625) based on close readings of historical theory sources, primarily by Thomas Morley, John Coprario and Thomas Campion. Music of the early seventeenth century can be difficult to analyse, since it falls between the more extensively studied and theorised practices of classic vocal polyphony and common-practice tonality. Although English music theory of this period is recognised as strikingly modern in many respects, innovative aspects of English compositions from the same period receive little attention in standard accounts of the seventeenth century. I argue that concepts taken from this body of historical theory provide the basic terms of a technical vocabulary for analysis, which should be further refined through application to real compositions. Successive chapters deal with common counterpoint models or patterns, imitative invention and disposition, cadential progressions, and overall tonal structure. I argue that these analyses show Gibbons's music to be a contribution to new ways of conceiving of instrumental polyphony and tonal structure, which deserves re-evaluation in the context of broader seventeenth-century trends. In particular, Gibbons's use of extended cadential expectations as an expressive element, fascination with sequential progressions, and sectional structuring by harmonic area have clear parallels with later practices. At the same time, early seventeenth century style allows the composer considerably more freedom of harmonic procedures and implications than the musical styles which immediately followed it. Analysis grounded in historical theory provides the best approach to understanding and appreciating this unique musical language.
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Fashun, Christopher Herbert. "Developing musicianship from the podium : adapting the Theory of multiple intelligences to the instrumental rehearsal." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3291.
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The purpose of this study is to collect a variety of conducting texts and resources and assess which texts, if any, suggested pedagogical techniques that make appropriations for various learning styles of individuals in the ensemble. The term learning styles is derived from Howard Gardner's Theory of Multiple Intelligences wherein he makes the assertion that every person possesses the nine intelligences and that each person has a natural disposition to at least one intelligence (or learning style). After having evaluated numerous conducting texts and resources, there exists a lack of assessing and teaching to learning styles. Most conducting curricula do not give attention to the idea that the musicians and students represent many learning styles and need to be provided with a variety of examples to enhance their understanding of the music. Consequently, enhancing understanding raises the level of their musicianship and elevates the overall quality of the ensemble and music program.
The most significant contributor in music education to integrating pedagogical techniques that address a broad range of learning styles is Edward S. Lisk. A former band director and now an internationally renown clinician and conductor, Mr. Lisk has written several books on alternative rehearsal strategies. His most recent book, The Creative Director: Conductor, Teacher, Leader, briefly explains how the Theory of Multiple Intelligences is uniquely suited for both the conductor and the students. Mr. Lisk's claims regarding the benefits of teaching to multiple learning styles focus on individual enhancement and understanding of playing a instrument and to provide compelling evidence to administrators, parents, and the community to show the inherent value of a music program.
This study acknowledges and supports Lisk's observations and claims, but sets out to enhance musical understanding and performance levels through rehearsal techniques that address multiple learning styles. Before providing a model for incorporating pedagogical techniques that address multiple learning styles, assessment methods of student's MI (multiple intelligences) will assist the conductor in determining what types of intelligences the students possess. When this information is gathered, a conductor/music educator can begin to infuse examples into the rehearsal.
The final goal of this study is to present several rehearsal strategies categorized by each MI as a model as to how conductor/educators can incorporate pedagogical strategies into their rehearsals to draw each student into a deeper understanding of the music, raise the level of musicianship, which promotes more expressive music-making. These rehearsal strategies can be utilized with technical or expressive issues. For example, a director is teaching the string section the difference between playing accompanimental motor rhythms in Mozart to those of Beethoven. For the visual-spatial learner, drawing a diagram on the board showing the trajectory shape of the bow across the string can assist the student by seeing what each bow stroke looks like. For a bodily-kinesthetic learner, showing what each bow stroke looks like, allowing the student to try it, and solidifying understanding with feeling the difference of each stroke and recognizing how each sounds. As an additional strategy to the former, the director could have each section demonstrate each bow stroke and ask the other students for feedback that incorporates a technique for the interpersonal learning style. Further examples with suggestions for expressive aspects of music for various learning styles are also included.
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Grajter, Małgorzata. "Małgorzata Grajter, Relacje słowno-muzyczne w twórczosci Ludwiga van Beethovena [The characteristics of music-text relationships in Ludwig van Beethoven’s output] (Dissertationes Lodzienses de Musicae Theoria 3), Łódz: Akademia Muzyczna im. Grazyny i Kiejstuta Bacewiczów [2015], 274 S., Abb., polnisch, ISBN 978-83-60929-46-9 [Zusammenfassung]." Internationale Arbeitsgemeinschaft für die Musikgeschichte in Mittel- und Osteuropa an der Universität Leipzig, 2016. https://ul.qucosa.de/id/qucosa%3A16198.
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Chi, Catherine Kai-ling. "Building an ideal high school instrumental ensemble program in Taiwan : based on the theory of multiple intelligences and Ithaca High School Band Program from 1955 to 1967 directed by Frank Battisti /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11411.
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Webster, Peter Jonathan. "The relationship between religious thought and the theory and practice of church music in England, 1603-c.1640." Thesis, University of Sheffield, 2001. http://sas-space.sas.ac.uk/3208/.
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This thesis explores the ways in which people in early Stuart England understood the place of music in worship, its effect on the auditor, and the task of determining what was appropriate music for the task. Central to this is the task of exploring the validity of the trend in current historiography to assign to the ‘Laudian’ movement a polemically and practically distinctive view of music in worship. Part One deals with the published and manuscript discussions of the nature and role of music. It contends that in the 1630s music became associated with one of the two rival conspiracy theories of Popish tyranny and Puritan profanity and subversion (chapters 1 and 2). In subsequent chapters (3-7), it examines the common language in which music was discussed; the use of Biblical, patristic and continental authorities; and continental and broader philosophical understandings of music. It is concluded that no clear theologies of church music can be attributed to church parties as identified in the historiography to date. In Part Two, the thesis considers the surviving musicological evidence of practice in cathedral and collegiate churches from 1603 onwards, to attempt to discern any patterns of distinctive usage in ‘Laudian’ institutions. It examines the use of musical instruments (ch.9), the incidence of various anthem texts (ch. 11), the singing of parts of the liturgy, and the incidence of compositions in various styles (ch. 12). It is argued that much ‘Laudian’ practice was indistinguishable from that in non-Laudian cathedrals, and that the habit of the scholars to extrapolate a ‘Laudian’ style from the work of John Cosin is a misleading one. Overall, it is then concluded that the necessary place that church music has been given in the Laudian experiment is not a tenable one, either in theory or practice. There was no necessary relationship between Laudian churchmanship and elaborate church music.
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Davison, Patrick Dru. "The Role of Self-Efficacy and Modeling in Improvisation: The Effects of Aural and Aural/Notated Modeling Conditions on Intermediate Instrumental Music Students' Improvisation Achievement." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/davison_patrick_dru/index.htm.
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Olsson, Jorun. "Musikteori i instrumentalundervisning." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-12227.
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Syftet med studien är att få en fördjupad inblick i hur instrumentallärare behandlar musikteori i sin undervisning för elever i grundskoleålder. Forskning tyder på att elever väljer bort musikteori som ämne på grund av bristande intresse. För att få en bild av i vilken mån instrumentallärare integrerar musikteori i sin undervisning gjorde jag korta strukturerade intervjuer med ett större antal musiklärarstudenter. Jag gjorde också djupintervjuer med fyra instrumentallärare som på ett aktivt sätt integrerar musikteori i sin undervisning. Som teoretisk utgångspunkt i studien har jag använt mig av teorier om lärande. I resultatet visas två olika arbetssätt över hur musikteori kan läras. Det ena sättet sker genom att lära ut musikteorin i mindre delar, motiverade utifrån det eleven spelar. Det andra sättet är att presentera musikteoretiska helheter, ”system”. Resultatet visar också på två olika förhållningssätt till musikteori som ämne. I det första förhållningssättet betonas teorins praktiska funktion. Den ger alla som sysslar med musik ett gemensamt språk att samlas runt. I det andra betonas teorins musikaliskt konstnärliga funktion. Teorin utvecklar en förmåga att se och höra sammanhang och enskildheter i musiken, och detta skapar en förståelse och medvetenhet hos musikerna, vilket i sin tur öppnar för ett självständigare och rikare musicerande.The study aims to gain a deeper insight into how music teachers apply music theory in their teaching of pupils at the compulsory school age. Research suggests that students opt out of music theory as a subject because of a lack of interest. To get an idea of the extent to which instrumental teachers integrate music theory in their teaching, I have interviewed a large number of music student teachers through a structured interview. I also interviewed four instrumental teachers who actively integrate music theory in their teaching, and had access to their methodology and approach to the subject. I have used theories of learning as the theoretical basis of the study. The results are shown by two different approaches in how theory can be taught. One method is by presenting music theory into smaller parts, motivated by what the student plays. The other method is to present the music theoretical entities, a "system". The results also indicate two different approaches to music theory. The first theory emphasizes practical function. It gives everyone involved in music a common language to gather around. The second theory emphasizes musically artistic function. The theory develops an ability to see and hear the context and details of the music, and this creates an understanding and awareness in musicians, which in turn allows for a more autonomous and richer music.
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Björklin, Maja. "”Musikteori är viktigt, men i första hand är jag ju fiollärare” : En fenomenologisk intervjustudie om fiollärares förhållningssätt till musikteori i undervisningen." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67549.
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Syftet med studien är att beskriva tre fiollärares förhållningssätt till musikteori i undervisningen. Detta görs med forskningsfrågorna: Hur definierar fiollärarna begreppet musikteori? Vilka musikteoretiska element erfar fiollärarna att de integrerar i undervisningen?Hur erfar lärarna att de arbetar med musikteori i fiolundervisningen?och Vilka svårigheter förknippar lärarna med fenomenet musikteori i fiolundervisning? Studiens kunskapsteoretiska utgångspunkt är interpretativism och den vetenskapsfilosofiska utgångspunkten fenomenologi. För att uppnå syfte och svara på frågeställningar har semistrukturerade intervjuer gjorts med tre fiollärare. I resultatet beskrivs deras förhållningssätt till musikteori i undervisningen kategoriserade i fyra teman: Fiollärarnas definition av begreppet musikteori, Att arbeta med musikteori i fiolundervisning, Val av musikteoretiskt lektionsinnehåll och Svårigheter med musikteori i fiolundervisningen. I resultatet framkommer många skillnader och olikheter i de intervjuade lärarnas utsagor, men alla berör ämnet notläsning och betonar vikten av att koppla musikteoriundervisning till spel på fiolen. I studiens avslutande kapitel diskuteras resultatet i förhållande till tidigare litteratur och forskning samt till studiens vetenskapsfilosofiska perspektiv fenomenologi.The purpose of the present study is to describe three violin teachers approach to music theory in teaching. The study has three research questions: How does the violin teachers define the term music theory? What kind of music theory elements do violin teachers experience that they integrate into their teaching? In what way do the teachers experience that they work with music theory in violin education?and What are the music teachers experiences of the phenomenon music theory in violin education?The theoretical foundation of the study is interpretativism and the philosophical perspective is phenomenology. Semi-structured interviews were conducted with the three violin teachers. In the result, their approach to music theory in violin teaching is categorized into four themes: The violin teachers definitions of music theory, To work with music theory in violin teaching, choice of music theoretical lesson contentand Difficulties with integrating music theory in violin teaching. The results reveals that there is differences between the teachers' approaches. However, all the teachers reported that they emphasize note acquisition and the importance of combining music theory with playing the violin. Finally, the results are discussed in relation to previous literature and research, as well as to phenomenological perspectives.
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Read, Daniel. "WHY WE SING ALONG: MEASURABLE TRAITS OF SUCCESSFUL CONGREGATIONAL SONGS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/102.
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Songwriters have been creating music for the church for hundreds of years. The songs have gone through many stylistic changes from generation to generation, yet, each song has generated congregational participation. What measurable, traceable qualities of congregational songs exist from one generation to the next?
This document explores the history and development of Congregational Christian Song (CCS), to discover and document the similarities between seemingly contrasting styles of music. The songs analyzed in this study were chosen because of their wide popularity and broad dissemination among non-denominational churches in the United States. While not an exhaustive study, this paper reviews over 200 songs spanning 300 years of CCS. The findings of the study are that songs that have proven to be successful in eliciting participation all contain five common elements. These elements encourage congregations to participate in singing when an anticipation cue is triggered and then realized. The anticipation/reward theory used in this study is based on David Huron’s ITPRA (Imagination-Tension-Prediction-Reaction-Appraisal) Theory of Expectation.
This thesis is designed to aid songwriters and music theorists to quickly identify whether a CCS can be measured as successful (i.e., predictable).
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Kinchen, John Dawson III. "Relative effectiveness of two approaches to the teaching of music theory on the achievement and attitudes of undergraduate students training as church musicians." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12451.
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Thesis (D.M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.As a result of a perceived need to improve the music theory curricula for the preparation of church music leaders, this study compared two diverse approaches to the teaching of music theory for church music university students on achievement, attitudes, and self-preparedness. This current study was a quantitative, quasi-experimental research design. Participants (N = 286) were first-year music theory students drawn from the music theory programs at six universities. Both experimental and control groups were exposed to similar music theory content; however, the experimental group was taught music theory emphasizing a combination of Common Practice principles with pop/rock and jazz theory concepts, Nashville Number system, rhythm chart writing and reading, contemporary vocal harmony, and performance of theory concepts through in-class lab settings. In contrast, the control group was taught music theory using a traditional, conservatory-based music theory curriculum consisting of harmony practices presented in traditional four-part writing based exclusively on Common Practice Period principles. When the Liberty contemporary and Liberty traditional groups were compared, significant differences were revealed with the contemporary group scoring higher on posttest measures of music theory achievement (p < .05), attitude (p < .05), and self-preparedness (p < .001). When the Liberty contemporary group was compared with the five other universities, the ANCOVA results for the music theory achievement posttest scores revealed that students instructed in a contemporary music theory curriculum achieved higher test scores on traditional music theory concepts. ANOVA results of the attitude inventory posttest scores indicated that students instructed in a contemporary music theory curriculum possessed higher attitudinal scores (toward a diversity of music styles) as compared to students taught in a traditional music theory curriculum. Significant differences (p < .001) between groups on posttest self-preparedness scores also indicated that the participants instructed in the contemporary music theory curriculum felt more confident and self-prepared as prospective church music leaders than those participants instructed in a traditional music theory curriculum. This study supports the effectiveness of the use of contemporary church music styles as part of the musical education of future church music leaders.
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Guo, Björn. "Att kräva eller inte kräva... det är frågan : - en kvalitativ intervjustudie om lärares hantering av elevers övning." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36759.
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Syftet med studien är att undersöka musiklärares syn på och hantering av elevers övning. Data har samlats in genom intervjuer med fyra instrumentalpedagoger som arbetar på kulturskola/gymnasiet/folkhögskola eller musikhögskola. Två av informanterna arbetar i huvudsak inom den klassiska genren och två arbetar inom både den klassiska och afro-genren. Intervjuformen var kvalitativ med en övergripande huvudfråga och sedan öppna följdfrågor. Analysen av data är gjord utifrån ett designteoretiskt perspektiv. Resultatet visar att alla informanter använder flera resurser parallellt för att skapa förutsättningar för att elever ska lära sig öva. Hur balansen mellan resurserna ser ut varierar både beroende på vilken arbetsplats informanterna befinner sig på samt i vilken ålder eleverna är. Resultatet visar även att informanterna ser spelandet på instrumentet som ett hantverk och att övning krävs för att bli bättre på hantverket. I diskussionen jämförs lärarnas önskemål med utbildningarnas krav och riktlinjer samt elevernas sociala omgivning. Diskussionen belyser även övning i relation till design och multimodala resurser.The purpose of this study is to examine music teachers’ views of and management of pupils’ exercise. Data were collected through interviews with four instrumental teachers working in arts school/high school/college or university. Two of the informants work mainly in the classical genre and two in both the classical genre and the Afro-genre. The interview method was qualitative, with an overall main question and then with open follow-up questions. The analysis of the data was performed from a perspective of design theory. The result shows that the respondents use multiple resources simultaneously to create the conditions for the students to learn how to practice. How the balance between resources looks vary both depending on the workplace of the informants and the age of the pupils. The result also shows that the informants see the playing of an instrument as a craft and that practice is necessary to becoming better at the craft. The discussion compares teachers’ preferences with the educational program requirements and guidelines as well as the pupils’ social environment. The discussion furthermore highlights exercise in relation to the design and multimodal resources.
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Figueiredo, Edson Antônio de Freitas. "Controle e promoção de autonomia : um estudo com professores de instrumento musical." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/115621.
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O ensino de instrumento musical é uma prática educativa que mantém vínculos com a tradição de transmissão de conhecimento entre mestre e aprendiz. Contudo, as mudanças ocorridas na sociedade nas últimas décadas trouxeram novas demandas ao ensino de música, implicando na necessidade de um contexto mais flexível de ensino. Neste cenário, o conceito de estilo motivacional possibilita uma discussão atualizada sobre o papel do professor na motivação do aluno, abstraídos por meio de traços característicos para dois estilos antagônicos, chamados de controle e promoção de autonomia. Por meio deste referencial teórico, o objetivo geral do estudo constituiu-se em investigar o estilo motivacional de professores de instrumento que atuam em escolas de música. Como metodologia primeiramente realizou-se a adaptação de uma escala que avalia o estilo motivacional do professor e posteriormente um survey com 358 professores de instrumento musical. Como resultado das propriedades psicométricas da escala constatou-se que não houve adequação ao modelo teórico, porém foi possível sugerir uma nova interpretação dos construtos, considerando controle e promoção de autonomia como fatores ortogonais. Esta interpretação serviu como base para a análise dos dados. Como resultado, as questões de gênero emergiram com um contraste acentuado ao constatar-se que homens possuem maior tendência para o controle. Da mesma forma, as questões trabalhistas relacionam-se com o estilo motivacional, considerando que professores de escola pública tendem a ser mais controladores em relação a professores de escola privada. Variáveis como idade, tempo de atuação e perfil de formação não parecem influenciar o estilo motivacional dos professores de música. Ao final, considera-se que o estilo motivacional do professor de instrumento é influenciado pelas questões de gênero e por questões trabalhistas ligadas a escola de música. Conclui-se também que a interpretação teórica proposta neste trabalho incita a realização de mais estudos que abordem a dinâmica do ensino individual de instrumento musical.The instrumental musical education is an educational practice that maintains bonds with the tradition of knowledge transmission between master and apprentice. However, the changes occurred in society in recent decades have brought new demands to music education, implying the need for an education with a context more flexible. In this scenery, the concept of motivational style enables an updated discussion about the teacher's role in the student’s motivation abstracted through featureless for two antagonistic styles, called controlling and autonomy support. Through this theoretical reference, the general objective of this study was set up in investigating the motivational style of instrumental music teachers who work in music schools. In the methodology, first was accomplished an adaptation of a scale that evaluates the teacher’s motivational style and later was conducted a survey with 358 instrumental music teachers. As the psychometric properties results of the scale was found that there was no adjustment to the theoretical model, but we can suggest a new interpretation of the constructs, considering controlling and autonomy support as orthogonal factors. This interpretation was useful for the data analysis. As the result, gender issues emerged with an emphasized contrast when it was noticed that men have a greater tendency to the control. At the same way, the labor issues are related to the motivational style, considering that teachers from a public school tend to be more controlling than teachers from a private school. Variables such as age, work experience and background profile don’t seem to influence the instrumental music teachers’ motivational style. In the end, it is considered that instrumental music teachers’ motivational style is influenced by gender issues and labor issues related to music school. Thus, we also conclude that the theoretical interpretation proposed in this work stimulates the accomplishment for further studies that approach the dynamics of one-to-one music teaching.
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Lochner, Fábián C. "La culture musicale de l'abbaye d'Echtnernach au Moyen Age." Doctoral thesis, Universite Libre de Bruxelles, 1988. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213380.
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Reusch, Kathryn. ""That which was missing" : the archaeology of castration." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:b8118fe7-67cb-4610-9823-b0242dfe900a.
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Castration has a long temporal and geographical span. Its origins are unclear, but likely lie in the Ancient Near East around the time of the Secondary Products Revolution and the increase in social complexity of proto-urban societies. Due to the unique social and gender roles created by castrates’ ambiguous sexual state, human castrates were used heavily in strongly hierarchical social structures such as imperial and religious institutions, and were often close to the ruler of an imperial society. This privileged position, though often occupied by slaves, gave castrates enormous power to affect governmental decisions. This often aroused the jealousy and hatred of intact elite males, who were not afforded as open access to the ruler and virulently condemned castrates in historical documents. These attitudes were passed down to the scholars and doctors who began to study castration in the late 19th and early 20th centuries, affecting the manner in which castration was studied. Osteometric and anthropometric examinations of castrates were carried out during this period, but the two World Wars and a shift in focus meant that castrate bodies were not studied for nearly eighty years. Recent interest in gender and sexuality in the past has revived interest in castration as a topic, but few studies of castrate remains have occurred. As large numbers of castrates are referenced in historical documents, the lack of castrate skeletons may be due to a lack of recognition of the physical effects of castration on the skeleton. The synthesis and generation of methods for more accurate identification of castrate skeletons was undertaken and the results are presented here to improve the ability to identify castrate skeletons within the archaeological record.
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Burch, Stephen Webb. "Beyond the bell: young adult former instrumental music student non-participation in community band or orchestra." Thesis, 2016. https://hdl.handle.net/2144/16832.
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There is a wealth of literature on people who participate in community instrumental ensembles. Studies exist regarding demographics, educational level, socio-economic status, music education experience, and musical self-identities of community music participants. Far less study focuses on young adults who were successful in high school programs but chose not to continue playing in a community instrumental ensemble group after the end of formal schooling. Traditional assumptions about their reasons—job and family for example—need to be examined. Attribution Theory, which provides a means of analyzing motivation for choices as well as perceived attributions for success or failure, was the theoretical framework of this research, with focus group interviews as the main procedural methodology. The geographic area of the study was limited to the greater Los Angeles area of southern California.
Music education literature is replete with references to building skills and values for lifelong participation in music, whether in performance, in listening, or in engaging with music in other ways. This study will offer insight into why many young adults who were once in high school music choose not to continue in instrumental music performance beyond their high school years. I anticipate that this research may lead to better understanding of issues in young adult stages of life as they relate to choices about non-participation in community instrumental ensembles. This research suggests ways in which school music education can facilitate lifelong engagement with music, and will suggest how community ensembles might make changes that will broaden participation by a greater number of young adults after they leave school.
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Calonico, Robert Michael. "Competitive jazz festivals: what motivates Northern California instrumental music teachers to participate in them?" Thesis, 2016. https://hdl.handle.net/2144/16839.
Full textAbstract:
In this study, I explored the motivations of high school instrumental music teachers to participate in competitive jazz festivals, specifically those sponsored by the California Music Educators Association (CMEA) Bay Section. I was interested in learning the specific needs participation in competitive festivals satisfied for high school music educators. Based on the tenets of Self-Determination Theory (SDT), I investigated whether the three basic psychological needs of autonomy, competency, and relatedness were among the needs being satisfied. I was curious whether an individual’s background in jazz or any other factors had any bearing on their decision to participate. Through interviews teachers shared their experiences, both positive and negative, of participating in competitive jazz festivals.
The following research questions guided this study:
1. What motivates high school music teachers to participate in competitive jazz
festivals?
2. What specific needs are satisfied through their participation?
3. How does one’s jazz background influence motivation to participate in CMEA Bay Section events?
In answering the aforementioned research questions, I chose a case study design. Interviews with twenty-nine high school instrumental music teachers were conducted at their respective work sites, except for three phone interviews and one via electronic mail.
Five themes identified through data analysis about festivals specifically included feelings about competition, judging, negative feedback from adjudicators, hearing and seeing other groups, and a suggestion for the addition of a clinic for all participating groups. Six general themes about CMEA Bay Section or participants’ feelings included more progressive thinking, a perception that youth among adjudicators was inadequately represented, a notion that festivals provided opportunities for process and growth, a feeling that many were forced to weigh the costs versus the benefits of participation, an expressed feeling of isolation in the profession, and a lack of awareness on the part of administrators about their participation in CMEA Bay Section jazz festivals.
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Chapa, Fuentes Lizette Rocio. "Pitch organization and texture in the free organ preludes of Dietrich Buxtehude." Thesis, 2015. https://hdl.handle.net/2144/15709.
Full textAbstract:
Since the late seventeenth century, Dietrich Buxtehude (1637-1707) has been acknowledged as one of the great organists and composers of the North German tradition. Nowadays, his free organ preludes are considered both as examples of the Stylus Phantasticus, and also as the repertoire in which he developed most of his innovations. My goal is to analyze these works, interpreting the preludes' pitch and textural organization in terms of seventeenth-century music theory, in order to incorporate an awareness of the organist's perspective, and to further the appreciation of Buxtehude's contributions to the organ tradition of his time.
Most of the analyses of the preludes written during the past 34 years have focused on explicating their texture, and pitch organization in terms of eighteenth-century tonality as well as the seventeenth-century tradition of musical rhetoric. In contrast, William Porter (1986) and Geoffrey Webber (2007) have analyzed the preludes in terms of a theoretical system contemporary to Buxtehude: the psalm-tone tonalities. Their analyses also draw on Harold Powers's theory (1981) regarding the transition from psalm tones to keys, which proposes an alternative system of church tones based on the organ practice of the early seventeenth century. In my analysis of Buxtehude's free organ preludes I aim to build on these insights and study the musical content in contemporary terms, by integrating a church-tone analysis of the pitch organization with a rhetorical analysis of the texture. My findings suggest an awareness of the church tones as an organizing factor in the preludes' compositional process.
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Ishiguro, Maho A. "The affective properties of keys in instrumental music from the late nineteenth and early twentieth centuries." 2010. https://scholarworks.umass.edu/theses/536.
Full textAbstract:
The concept of key characteristics deals with the particular moods which different tonalities are believed to provide to music. Discussions regarding their existence and the validity of the phenomena have always been controversial because of a lack of fundamental reasons and explanations for them. Nevertheless, references to key characteristics have appeared in various fields of study and over many centuries: the Greek doctrine of ethos, writings of Guido d’Arezzo, Jean-Philippe Rameau’s Traité de l’harmonie, scribbles in Beethoven’s sketches, and several passages in Hermann von Helmholtz’s On the Sensations of Tones.
The attitudes and opinions towards key characteristics have varied in each period of its history. Among the ancient Greeks and Romans, the characteristics of modes were discussed among philosophers, namely, Plato, Aristotle, Lucianus and Cassiodorus. They were believed to affect moral development but were also associated with mysticism. In the Middle Ages and Renaissance, references to key characteristics can be found in the writings of numerous theorists, including Gioseffo Zarlino, Ramos de Pariea and Heinrich Glarean. The studies and discussions of key characteristics in those periods became so well explored as to result in the first appearance of a list of the characteristics of each mode.
In Germany and France especially, the discussion of key characteristics reached its peak in the first half of the eighteenth century, when it was studied as a part of Rhetoric. Theorists and composers equally showed their interest in the elements each key could offer to music and how to use keys advantageously in order to enrich the musical experience of the listener.
While key characteristics were studied commonly as a vital subject by composers in the eighteenth century and as a fundamental of musical education by many young musicians in the early nineteenth, this tradition had all but disappeared by the middle of the twentieth. The concept of key characteristics is no longer commonly taught in our musical institutions, and this desertion from such a traditionally significant discipline is ever puzzling and particularly interesting to me. In my thesis, I will focus on writings from the last half of the nineteenth century and the first half of the twentieth to determine the various paths taken in the study of key characteristics. I will investigate the writings and discussions of three scholarly groups—music theorists, composers and scientists—from late nineteenth and early twentieth centuries and discuss how the survival of the study of key characteristics was influenced by aspects of the time: popular aspects and aims in the fields of music theory; cultural and social expectations in the validity of phenomena; pronouncements of composers (Arthur Bliss, Alexander Scriabin, Olivier Messiaen, Arnold Schoenberg and Vincent D’Indy) in their musical styles; the rise of a naturalistic view of physical reality as a field and changes it brought to music and societies. I will also include a comparative summary of the status of key characteristics in various periods.
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Steinert, Claudio. "Towards a "liturgical missiology": perspectives on music in Lutheran mission work in South Africa." Thesis, 2003. http://hdl.handle.net/10500/1774.
Full textAbstract:
This doctoral thesis claims the vital significance of music in mission work, particularly from the Lutheran point of view. It, therefore, calls for a liturgical missiology which would positively affect missionary efforts, especially in the African mission context.
After giving a theological foundation - the doctrine of the Trinity - and the concept of the missio Dei as its missiological basis, the thesis investigates its topic from different angles: Luther and music, music in the work of the Hermannsburg Mission in the region of the ELCSA-Western Diocese, the role of music in African culture and spirituality, some qualities of music relevant to mission and a few musical steps to approach the future of music in mission. These analyses corroborate music's importance in future Lutheran mission designed for the African context.
Examining Luther's stance towards music, a strong affinity to music is recognised, both theoretically and practically. While interpreting music theologically, Luther employs music in his liturgical, educational and reforming efforts. However, the example of the Lutheran Hermannsburg Mission shows a usage of music without a proper theoretical foundation, as well as only partial efforts at contextualisation. In Africa, music plays a prominent role in the interpretation and expression of life and religion indicated in the Tswana choruses; music represents the wholeness of African existence symbolising the paradigm of harmony. Further, in mission, music's qualities, such as its cultural-social, symbolic, ritualistic and community-building qualities, support the integration of the convert into a fundamental relationship between the missio Dei and the missiones ecclesiae. With the help of a musica missionis, which includes missiological music and missionary music, the practice of future mission can be approached successfully; for instance, through the Africanisation of the Lutheran mission liturgy based on a context-musicology.
Thus, a liturgically orientated theology of mission, meditating deeply on music's qualities (music being one essential element of Lutheran worship), has the potential to develop into a future liturgical missiology. This musical-liturgical approach to mission is encouraged by this thesis.Christian Spirituality, Church History and Missiology
D.Th. (Missiology)
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Jelínková, Kateřina. "Systém instrumentálního vzdělávání ve Velké Británii." Master's thesis, 2018. http://www.nusl.cz/ntk/nusl-372574.
Full textAbstract:
This Master thesis describes possibilities of instrumental tuition in the United Kingdom. It focuses on curricular documents as A Common Approach and The Importance of Music - A National Plan for Music Education, further on music services - organizations which mediate music tuition and also on the system of musical examinations, which is very different than way musical exams in the Czech Republic. The thesis outlines also the topic of El Sistema, a music-educational project founded in Venezuela, in the last decade gaining considerable popularity also in Europe - especially in the United Kingdom. The thesis pays attention also to ABRSM (The Associated Board of the Royal Schools of Music) and its activities - creating syllables and other publications, publishing music scores, organization of music examinations and providing diplomas. In the field of music examinations the thesis focuses on Violin and Music theory. The last chapter if this thesis focuses on comparing some aspects of the instrumental tuition in the United Kingdom and a system of music schools in the Czech Republic. The conclusion brings a suggestion, how could the Czech curriculum for music schools improve.
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Vermeulen, Ockert Casper. "Vernuwende gebruik van die orrel in ’n estetiese musiekbediening van verskillende spiritualiteitstipes in die Afrikaanse gereformeerde kerke (Afrikaans)." Thesis, 2012. http://hdl.handle.net/2263/28713.
Full textAbstract:
Music in the Afrikaans reformed churches has reached a cross-road. This is evident in the many articles written on the subject, workshops held on the issue and outcries for help from several organists in various congregations. Scholars all agree that research on the topic of responsible renewal in church music is necessary. Furthermore, it seems the organ is systematically being dismissed as a church instrument, especially in evening worship services. It seems the organ is (unjustly) thought of as an old fashioned instrument capable of playing only classical music and thus not able to cater for the musical needs of today’s postmodern churchgoer. This study aims to provide recommendations for the renewed usage of the organ in an aesthetic music environment that will assist churchgoers of various spirituality types to worship with conviction. This study is based on thorough research on three specific concepts: 1. Aesthetics: In order to use aesthetics as a valuable tool for music renewal, it must first be established that it is indeed a Biblical concept. Study into the concept of aesthetics in the Bible is undertaken. 2. Spirituality: Every person differs in his perception of worship and this is mainly determined by his spirituality type. The different musical preferences according to these spirituality types are investigated. 3. The organ: The organ has established itself as a versatile church instrument since the Middle Ages. It has adapted to the changing musical styles through the ages. It is reasoned that the church organ can still provide in the musical needs of all churchgoers today. This does not mean that the organ is elevated as the exclusive church instrument, but it is argued that the organ can successfully be used in conjunction with other instruments in worship today. After these three concepts are investigated, practical guidance is given in the usage of the organ in combination with other instruments according to the aesthetical requirements of the different spirituality types in today’s Afrikaans reformed worship service.Thesis (DMus)--University of Pretoria, 2012.
Music
unrestricted
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Van, der Bank Annelie. "Ephrem of Syria, power, truth, and construction of orthodoxy: modelling theory and method in critical historiography of the making of religious tradition." Diss., 2020. http://hdl.handle.net/10500/26529.
Full textAbstract:
Hymns can and have functioned as powerful strategic tools to change social and religious landscapes, and to inform and transform people’s notions about ‘doing church’. A few words about Ephrem the Syrian, which emphasised liturgical singing and accentuated the force of truth, the power of persuasion and socio-religious transformation was the starting point and connecting thread, which formed the backbone of this dissertation throughout—a research project that was also guided by some principles of new historicism to view Ephrem as a textual construct, living in a particular context and dealing with specific religious issues in a particular way. His trump card was the female choirs he founded, which became a distinct feature of orthodox Syrian Christianity. Through their singing performances, he ‘silenced’ the unorthodox voices of—especially Bardaisan—and created a community of believers where each person had a part to fulfil, where women and men would become ‘two harps’, ‘singing one praise’.M. Th. (New Testament)
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Fourie, Francois Paul. "'n Geskiedenis van die kerklied in die Nederduitse Gereformeerde Kerk." Thesis, 2000. http://hdl.handle.net/10500/18047.
Full textAbstract:
Text in AfrikaansDie lied en musiekinstrumente speel 'n baie belangrike rol in die Bybel. Die Moseslied (Eks 15) word in die Psalms aangehaal en kulmineer in die 11 nuwe 11 lied van Openbaring - die lied van die "nuwe" hemel en die 11 nuwe 11 aarde wat verlostes saam sal sing. Die brandende vraag wat "reg" of hoegenaamd standpunt ingeneem moet perspektief (die Woord van God) "verkeerd" is en of daar word, word uit 'n Bybelse beantwoord, gegrond op die beginsel van die Reformasie: ecclessia reformata semper reformandum. Die geskiedenis van die lied van die vroee kerk tot by die Ref ormasie word kursories behandel. Die lied wat in die geskiedenis uit die mond van die gelowige, die lidmaat gehaal is en aan die priesters oorgelaat is, word deur Luther weer teruggeplaas in die mond van die gelowige. Dit blyk dat Calvyn, tsv die Ref ormasie slagspreuk, in sommige aspekte van sy beskouing van die kerklied, steeds 'n Roomse standpunt bly handhaaf en net tot by die vroee kerk "gereformeer" het. Slegs sgn "heilige" liedere, direk uit die Bybel, musiek sender instrumentale begeleiding, kon gebruik word. Saam met ons voorsate, wat van oa Nederland gekom het, het ons liederebundels gekom. Van Riebeeck het met die Datheense Psalter (die amptelike Nederlandse kerklied) wat later deur die 1805- "Evangelische Gezangen" aangevul is, geland. Agv die "cuius regio eius religio"-beginsel het die Hollandse kerklied voorkeur bo Lutherse ea kerkliedere gekry. Die 1805-"Evangelische Gezangen", alhoewel dit hartlik verwelkom is, het gelei tot misnoee in Colesberg en later in Rustenburg, wat op sy beurt gelei het tot kerkskeuring. Die "Evangelische Gezangen" was ook, naas die Bybel en die Psalmboek die metgesel van die Trekkers, kommandolede (Anglo-Boereoorlog) en die krygsgevangenes in die konsentrasie- en krygsgevangenekampe. In die kampe was daar baie tyd vir die sing en skep van gewyde liedere. Nie-goedgekeurde bundels en die vertaling van die Bybel in Afrikaans (1933) het aanleiding gegee dat liederebundels hersien moes word. Die 1937 (Totius-beryming), die 1944 Gesangboek, die 76/78-Psalmboek en die 1978 Gesangboek was die resultaat. 'n Dualistiese standpunt, dat sekere liedere geskik is vir kerkgebruik en ander slegs vir buite-kerkgebruik (die 1984- Jeugsangbundel) het aanleiding gegee tot die publikasie van SOM en Jeugsangbundel 2, 1993. Huidig gebruik talle gemeentes 'eie' bundels tsv sinodale besluite dat slegs SOM en JSB2 naas die Psalm- en Gesangboek gebruik mag word. Die verskyning van die Proefsangbundel 1998 (IKSA) lei 'n nuwe fase van die kerklied in SA in as die Ned Herv Kerk ook begin om "nuwe" liedere op die proef te stel. Vos, Strydom, Huisamen, Konig, Kloppers, ea het in resente jare evaluerings oor die kerklied gedoen. Die "ou", die "nuwe" en die kontemporere kerklied (veral met verwysing na die NG Kerk) m6et almal plek kry in die musiekskat van die 21ste eeu.
The hymn and musical instruments play a cardinal role in the Bible. The Song of Moses (Ex 15) is used in Psalms and in Revelation 15:3. The question with regards to what is acceptable and unacceptable and whether it is at all imperative to take a defendant stance, is clarified from a Biblical point of view. It is based on the Reformation-principle: ecclesia reformata semper reformandum. The History of the 'Song' Hymn in the early church up to the Reformation is shortly mentioned. The "songs" (Hymns) of the believer were in the course of history transferred to the priests and were only in the Reformation once again bestowed on the believer by Luther. It would appear that Calvin, despite the slogans of the Reformation continued to postulate a Catholic point of view with regard to the Hymns and that the Reformation was restricted to the early church. Only socalled holy songs, direct from the Bible and songs without instruments/accompaniment could be usedo The collection of 'songs' (Hymns) of the Dutch Reformed Church is an inheritance from the Netherlands. It was Van Riebeeck who brought in the ''Datheense Psalter'' . Later, the 1805 - "Evangelishe Gezangen" were added to it. Owing to the cuius regio eius religio-principle, the Dutch Church Hymn was given preverance. Although heartily welcomed, the "1805-Evangelische Gezangen" lead to a split in the Church. The "Evangelische Gezangen" (Hymns), and the Psalmbook were used by the 'Trekkers' , the 'Kommando' s' , (Anglo Boer war) and in the Consentration and prisoners of war camps. In the camps was ample time for singing and composing new sacred songs. 'Non-approved' song books and the translation of the Bible in Afrikaans (1933) gave rise to the birth of various Hymn and Psalter books. Youth Praise and Worship books were also published. The Dutch Reformed Church opinion that certain songs in the formal Church inappropriate and should gatherings. struggles with the dualistic are suitable for worshipping service while other are only be used at informal
Theology
D.Th. (Theology)