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Relevant bibliographies by topics / Developing relationships through music

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Academic literature on the topic 'Developing relationships through music'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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Journal articles on the topic "Developing relationships through music"

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Whalley, Ian. "Developing Telematic Electroacoustic Music: Complex networks, machine intelligence and affective data stream sonification." Organised Sound 20, no. 1 (March 5, 2015): 90–98. http://dx.doi.org/10.1017/s1355771814000478.

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This paper proposes expanding telematic electroacoustic music practice through the consideration of affective computing and integration with complex data streams. Current telematic electroacoustic music practice, despite the distances involved, is largely embedded in older music/sonic arts paradigms. For example, it is dominated by using concert halls, by concerns about the relationship between people and machines, and by concerns about geographically distributed cultures and natural environments. A more suitable environment for telematic sonic works is found in the inter-relationship between ‘players’ and broader contemporary networked life – one embedded in multiple real-time informational data streams. These streams will increase rapidly with the expansion of the Internet of Things (IoT), and with the increasing deployment of algorithmic decision-making and machine learning software. While collated data streams, such as news feeds, are often rendered visually, they are also partly interpreted through embodied cognition that is similar to music and sonic art interpretation. A meeting point for telematic electroacoustic music and real-time data sonification is in affective composition/performance models and data sonification. These allow for the sonic exploration of participants’ place in a matrix of increasingly networked relationships.

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OSTASHEWSKI, MARCIA, SHAYLENE JOHNSON, GRAHAM MARSHALL, and CLIFFORD PAUL. "Fostering Reconciliation through Collaborative Research in Unama’ki: Engaging Communities through Indigenous Methodologies and Research-Creation." Yearbook for Traditional Music 52 (November 2020): 23–40. http://dx.doi.org/10.1017/ytm.2020.7.

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AbstractThis article documents relationships, strategies, and activities involved in developing and carrying out collaborative community-engaged research for reconciliation, based on Indigenous methodologies and research-creation. It documents an example of Indigenous/non-Indigenous collaboration in Unama’ki (also known as Cape Breton, Canada), providing data towards the refinement of models of research designed to foster reconciliation, and contributing to a literature on Indigenous/non-Indigenous collaborations in ethnomusicology and related fields. While revealing some challenges in the process with respect to addressing local needs, it also describes transformations that can be achieved through effective collaboration, including ways in which universities can be involved.

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DE GROOT, ROKUS. "Jonathan Harvey's Quest of Spirit through music." Organised Sound 5, no. 2 (August 2000): 103–9. http://dx.doi.org/10.1017/s1355771800002077.

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In this review of Jonathan Harvey's In Quest of Spirit: Thoughts on Music, special attention is given to the question of how the musical domain may be related to the spiritual one, e.g. by representation (‘giving a picture’, ‘portrayal’), symbolism, parallelism, mediation and ‘overlap’. Harvey's sources and personal experiences are discussed, and the relationships between the different parts the author plays in his book assessed: the spiritual seeker, the thinker about music, and the composer. A possible conflict between spiritual search and professional music composition is pointed out, given an implicit tendency in the former to surrender, and in the latter to mastery and control. One of the questions looked into is how music, especially by articulating contrasts, may convey insight into ‘unity’. Other issues discussed are the possible addiction to music as a spiritual means at the expense of the spiritual quest itself; the alleged special role of electronics and spectrality in the composition of spiritual music; the possibility of developing spiritual listening; and possible modernist overtones in the notion of making progress as a composer while mediating spiritual insights and experiences.

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Rohwer, Debbie. "A narrative investigation of adult music engagement." International Journal of Music Education 35, no. 3 (September 19, 2016): 369–80. http://dx.doi.org/10.1177/0255761416667466.

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The purpose of the current study was to describe the musical life experiences of an active, adult community musician through a narrative investigation. Jon is a musically-engaged retired instrumentalist who shares a trust and respect relationship with the researcher. Through data sources of observations, interviews, emails, journals, and pictures, the story of Jon’s musical past and present was portrayed. Jon has a past as a developing musician who had an extensive family background and support system in music; his present represents a dedicated musician who takes on varied roles across ensembles, and who collaborates with others in musical relationships. This story of an engaged musician in the community may have implications for community musicians and teachers.

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Sudarman, Yos, and Erfan Lubis. "DEVELOPING CHARACTER EDUCATION THROUGH THE SIMPLE SONG COMPOSITION IN ARTS EDUCATION CULTURE FOR JUNIOR HIGH SCHOOL STUDENTS (SMP)." Komposisi: Jurnal Pendidikan Bahasa, Sastra, dan Seni 16, no. 1 (March 17, 2015): 105. http://dx.doi.org/10.24036/komposisi.v16i1.8048.

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MENGEMBANGKAN PENDIDIKAN KARAKTER MELALUI KEMAMPUAN MENCIPTA LAGU SEDERHANA DALAM PENDIDIKAN SENI BUDAYA BAGI SISWASEKOLAH MENENGAH PERTAMA (SMP)AbstractThe research was conducted in SMP Negeri 16 Padang, which was motivated by the music of culture and art of learning problems in curriculum-based Character Education in 2013, where some of the subject matter tends to develop the cognitive and psychomotor, more geared to the development of the affective domain. From the pattern of KI and KD field of the music of culture and art in 2013 at the junior high curriculum, competencies, knowledge and skills the art of music is not negligible, but the development of attitudes of learners through learning music is much more important. Developing Character Education through Capability Creates a Simple Song learning in the Junior Cultural Arts is one of the subject matter may be directed to the development of the educational aspects of character, to understand the attitude and response of students to the theme of simple songs that he created. There are nine steps that are applied in this study are: (1) find the idea: (2) exploration of the theme of experience and appreciation of the work: (3) stringing words according to the theme: (4) analysis of the suitability of the choice of words on the vowel sounds in rhymes and articulation: (5) selection of musical nuance and patron melody; (6) analysis of the relationship melodies and lyrics; (7) notational (number / beam) (8) makes a simple isnstrumental musical accompaniment; and (9) the presentation creation simple songs sung by music iiringan. Results showed that, with a simple song that created the students, they realize himself what he knew and understood about attitudes and behavior problems of both himself and other people. Key Words: Education Music Arts, character education, creating songs AbstrakPenelitian ini dilaksanakan di SMP Negeri 16 Padang yang dilatarbelakangi oleh masalah pembelajaran seni budaya musik dalam Kurikulum 2013 yang berbasis Pendidikan Karakter, di mana beberapa materi pelajaran yang cenderung mengembangkan ranah kognitif dan psikomotorik, lebih diarahkan kepada pengembangan ranah afektif. Dari pola KI dan KD bidang Seni Budaya Musik pada kurikulum 2013 di SMP, kompetensi pengetahuan dan keterampilan seni musik tidak diabaikn, namun pengembangan sikap peserta didik melalui pembelajaran musik jauh lebih penting. Mengembangkan Pendidikan Karakter melalui Kemampuan Mencipta Lagu Sederhana dalam pembelajaran Seni Budaya di SMP adalah salah satu materi pelajaran yang dapat diarahkan kepada pengembangan aspek pendidikan karakter, dengan memahami sikap dan tanggap siswa terhadap tema lagu sederhana yang ia ciptakan. Ada sembilan langkah yang diterapkan dalam penelitian ini yaitu: (1) menemukan ide: (2) eksplorasi tema dari pengalaman dan apresiasi karya: (3) merangkai kata sesuai tema: (4) analisis kesesuaian pilihan kata pada bunyi vokal menurut sajak dan artikulasi: (5) pemilihan nuansa musikal dan patron melodi; (6) analisis hubungan melodi dan lirik; (7) penulisan notasi (angka/balok) (8) membuat iringan musik isnstrumental sederhana; dan (9) presentasi ciptaan lagu sederhana yang dinyanyikan dengan iiringan musik. Hasil penelitian menunjukkan bahwa, dengan lagu sederhana yang diciptakan siswa, mereka menyadari sendiri apa yang ia ketahui dan pahami tentang masalah sikap dan berperilaku baik bagi dirinya maupun oranglain. Kata Kunci: Pembelajaran Seni Musik, pendidikan karakter, mencipta lagu

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[宁颖], Ning Ying. "Developing a Sense of Place through Minorities' Traditional Music in Contemporary China." ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 81–92. http://dx.doi.org/10.30819/aemr.6-6.

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Looking back over the past nearly 70 years since the People’s Republic of China was established, it seems that the meaning of ‘place’ has varied and changed, especially since the turn of the millennium. ‘Place’ usually refers to a specific geographical area, but it can also reference an imagined space – that is, a sense of place is assembled through experience, feeling, perception and identification. To date, Chinese scholars have paid more attention to the close relationship between traditional music and its locale, or the place in which its original owners resided, but there has been little research that moves beyond a geographical conceptualization. However, the dimensions of place in China are more complex when we consider ethnic minorities rather than the majority Han Chinese: minority musicians represent themselves through their music, while the central government emphasizes the integration of diverse cultures within the Chinese nation. Representations of place, and how these relate to music, therefore differ. This chapter examines, using Feld’s and Basso’s (1996) term, what the ‘sense of place’ is for minority musicians, and how within contemporary China musicians and the state have developed different ‘senses of place’.

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Whittam, Julian. "Music, Multimedia and Spectacle: The one-man band and audience relationships in the digital age." Organised Sound 20, no. 3 (November 16, 2015): 349–56. http://dx.doi.org/10.1017/s135577181500028x.

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The one-man band is a highly performative musical practice which combines visual spectacle and musical production. As digital and electronic technologies play an increasingly important role in our lives and change the ways in which music is produced, performed and consumed, the traditional one-man band with a bass drum on his back and cymbals between his knees provides an interesting model through which to examine both our relationship with technology and the importance of embodiment and visual spectacle in developing and maintaining audience/performer relationships. Furthermore, for digital performance artists, the model of the traditional one-man band can provide interesting inspiration for new works.

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Melhuish, Ruth, Catherine Beuzeboc, and Azucena Guzmán. "Developing relationships between care staff and people with dementia through Music Therapy and Dance Movement Therapy: A preliminary phenomenological study." Dementia 16, no. 3 (July 26, 2016): 282–96. http://dx.doi.org/10.1177/1471301215588030.

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Background There is an increasing focus on providing effective psychosocial interventions to improve quality of life in dementia care. This study aims to explore the attitudes and perceptions of staff who participated regularly in Music Therapy (MT) and Dance Movement Therapy (DMT) groups for residents with dementia in a nursing home. Method In-depth interviews were conducted with seven members of care home staff. Data were analysed using interpretative phenomenological analysis. Results A representation modelling the impact of MT and DMT in a nursing care home. Three main themes were identified. 1) Discovering residents' skills and feelings; 2) Learning from the therapists to change approaches to care practice with subthemes: time, space and pace, choice, following the residents' lead; 3) Connection between staff and residents. Conclusion The model indicated that both interventions performed in parallel helped staff to discover residents' skills and feelings. Although it is a small sample size, this study strongly suggests that MT and DMT can have a positive influence in helping care staff to provide a meaningful care environment.

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de Bruin, Leon Rene. "Shaping interpersonal learning in the jazz improvisation lesson: Observing a dynamic systems approach." International Journal of Music Education 36, no. 2 (July 13, 2017): 160–81. http://dx.doi.org/10.1177/0255761417712318.

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Music institutions predominantly utilize the one-to-one lesson in developing and supporting music students’ learning of skill and knowledge. This article explores the effect that interpersonal interaction plays in shaping pedagogical applications between teacher and student. Observing the learning of improvisation within this individualized social context, dynamic systems theory (DST) is used to explore how learning and development of musical improvisation skills are shaped by interpersonal behaviors and learning relationships. Through the dimensions of teacher “action” and “affiliation”, this phenomenological study investigates the interactive behaviors of five expert Australian educator/improvisers and their students. Interpretative phenomenological analysis is utilized to identify modes of behavioral interactions that evolve through dynamic and fluid interplay. Interactive behavior positions and facilitates the delivery of skill, knowledge, teacher attitudes and understandings of the improvisation process. An interpersonal model of behaviors within the instrumental music lesson is posited, and implications for ongoing critical reflection of interpersonal and pedagogical approaches in the one-to-one context are suggested.

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Tripathy, Manaswini, and Mithunchandra Chaudhari. "The Impact of Rock Music on Indian Young Adults: A Qualitative Study on Emotions and Moods." Revista Gestão Inovação e Tecnologias 11, no. 4 (September 16, 2021): 5361–74. http://dx.doi.org/10.47059/revistageintec.v11i4.2566.

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Music has proven to play a vital role in social and emotional development in teenagers and young adults. From contemplation, developing self-identity, understanding interpersonal relationships, and providing possibilities of experience mastery, agency, and self-control with the help of self-directed activities, music helps its audience develop in all aspects of life. In specific, Rock music, since its existence has been more than entertainment, artists expressed themselves and shared their opinions through their musical pieces. Infamous for promoting drugs and alcohol, Rock Music used its platform to enlighten the audience about taboo topics like racism, inequality, and other social issues. This research paper uses a qualitative methodology approach to understand Rock Music listeners’ points of view. Data was collected through ‘in-depth interviews’ of 15 participants hailing from different parts of the country. Rock Music has several positive effects on the listeners. Rock can elevate moods, induce emotions, helps the listeners be more productive and creative with their everyday work, and constantly motivate them to do better in every aspect of life. Rock provides a platform to express feelings and vent out all the angst, especially for those who otherwise do not voice their opinions because of their nature in general. Rock Music has been able to shape personalities, characteristics, and thought processes. Moreover, majorly, Rock Music helps people with anger management.

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Dissertations / Theses on the topic "Developing relationships through music"

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Morris, Laura Rosenberg. "Developing the whole child through movement in the music classroom." Diss., [Missoula, Mont.] : The University of Montana, 2009. http://etd.lib.umt.edu/theses/available/etd-07012009-110807.

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Platt, Kelsey Elyse. "Developing metacognitive and self-regulated learning skills through reflective writing prompts." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3164.

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Effective practice determines the quality of a performance and it is essential to improving a musician's overall level of playing. Studies show that experts in the field of music display superior metacognitive skills, or the ability to think about one's thinking. Metacognition is an important skill that needs to be developed in order for a student to become a self-regulated, or independent learner. Effective practice can be improved by learning and developing metacognitive and self-regulated learning skills. An important component of self-regulated learning is reflective thinking. Reflective thinking is a mental process that contributes to deeper learning experiences, improves problem solving skills, and enhances creativity. Reflective thinking can be stimulated with writing activities. Research and theories of reflective practices informed the creation of the Reflective Writing Prompts. The Reflective Writing Prompts stimulate reflective thinking as they teach and develop metacognitive and self-regulated learning skills to make practice more effective. Each exercise prompts the student to think and write a response to questions focused on a specific skill. These prompts are based on research in music psychology and reflective thinking, with special focus on metacognition, self-regulated learning, practice habits, and reflective journaling. The pertinent studies and theories in these areas will be examined and explained in relation to each other. With this foundational knowledge in place, the Reflective Writing Prompts will be presented. The prompts are designed to support first or second year music students in their development as independent learners who practice effectively.

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Hayes, Jonathan Adam. "Approaching Elementary Music Theory Through Practical Application: A Supplemental Method for the Developing Trumpeter." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1281990235.

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Solomon, Leroy. "Developing a small group ministry which encourages discipleship through learning and relationships." Theological Research Exchange Network (TREN) Access this title online, 1992. http://www.tren.com/search.cfm?p028-0055.

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Villanueva, Borbolla Montserrat. "Understanding nurse practitioner-patient communication : reconceptualizing power and relationships through music metaphor." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Health Sciences, c2012, 2012. http://hdl.handle.net/10133/3247.

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In nursing literature, power is conceptualized as an object transferred, distributed, controlled or conquered by empowerment. In this management care paradigm, the service of care provides power to achieve the product of health. The socio-philosophical framework proposes power as intra-interpersonal set of relationships. Interdisciplinary collaboration allowed discovering power-and-relationships as inseparable mind-body subunits constituting micro and macro health interactions, through a mixed methods instrumental case study. Control and power mechanisms were revealed analyzing body movements and conversations in Case A-15min- and Case B-16.10min- nurse practitioner-patient videotaped encounters. Catalyzed by a hermeneutical music metaphor this thesis proposes relational healing care. Despite interruptions and disruptive postures, nurse practitioners-patients reverse differentials by sharing potentials in simultaneous connections. Power balance is developed by equitable-inequitable communication. Like diverse related tones, nurse practitioner-patient is an Intermelody solving tension continuum in concordance. Health struggles in that way are nothing to be fixed, but healing cycles to be played.
xiv, 436 leaves : ill. ; 29 cm

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Wissler, Holly. "Q’eros, peru: the regeneration of cosmological relationships and specific identities through Music." Pontificia Universidad Católica del Perú, 2012. http://repositorio.pucp.edu.pe/index/handle/123456789/79588.

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Uno de los principales objetivos de la música de la comunidad andina Q’eros es re-generar y re-crear buenas relaciones con el cosmos y con el mundo espiritual en el que cree. En esta ponencia analizo el modo cómo tanto las canciones indígenas de Q’eros como la música y danza que la comunidad ha incorporado recientemente a la peregrinación más grande del Perú —Qoyllurit’i— logran la eficacia del propósito a través de similares técnicas de producción de sonido y estética. Aunque los rasgos específicos de ambos estilos (estructura, escala e instrumentación) son significativamente diferentes, yo me ocupo de la forma en que la producción musical de ambos tipos comparte el mismo enfoque y sirve a la misma meta, ya sea que se trate de un ritual íntimo dentro de la comunidad o de uno compartido con miles de otras personas de la gran región.Además, la interpretación de los dos tipos de música sirve como indicador de identidad específica para los q’eros, dependiendo de su uso contextual y la identidad deseada en el momento. Es decir, las elecciones musicales les permiten cambiar de identidad entre la de q’eros tradicionales en su comunidad natal, y la de misti (mestizo) en Qoyllurit’i.
One of the principal purposes of Q’eros music is to actively regenerate and re-create good relationships with the cosmos and the spirit world they believe in. In this paper, I explore how both the Q’eros’ indigenous songs as well as their newly-adopted music and dance for Peru’s largest pilgrimage, Qoyllurit’i, achieve efficacy of purpose through similar techniques of sound production and aesthetics. Even though the specific musical traits (structure, scale, and instrumentation) of both musical styles are significantly different, I address how Q’eros’ musical production of both types share the same focus and serve the same end-goals, whether the ritual is an intimate one within the community or shared with thousands of other people from the greater region. In addition, the performance of both styles of music serve as specific identity markers for the Q’eros depending on their contextual use and the identity desired at the time. In other words, the Q’eros’ musical choices allow them to shift identities between traditional Q’eros in their home community and misti (mestizo) in Qoyllurit’i.

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Veit, Andrew Gregory. "Developing a curriculum for the study of jazz vibraphone available through the online community, the vibesworkshop.com." Diss., University of Iowa, 2016. https://ir.uiowa.edu/etd/3208.

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The vibraphone has been associated with improvisation since the beginning of the twentieth century. There have been many documents designed to guide students in both technical studies on the vibraphone and improvisational skills. This document includes three instructional courses dedicated to the teaching of those skills. It uses only materials found on the website vibesworkshop.com, which is curated by Philadelphia-based vibist Tony Miceli. These courses are designed for undergraduate college students through advanced amateurs or professionals. Many college curricula include insufficient vibraphone studies or do not include them at all. Currently, most college percussion studio professors specialize in areas other than vibraphone. Because of their lack of experience, professors supplement their teaching methods with materials that approach vibraphone in a subpar manner. Such materials instruct students to internalize and regurgitate bland materials instead of creating and developing their own ideas. The vibesworkshop.com courses aim to assist those professors and students by replacing older instructional materials with a system that cultivates students' affinity with the vibraphone, allowing them to continue contributing to the online vibes community after participation in these courses.

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Thompson, James Loving. "Developing proficiency in the tenor arias of Vincenzo Bellini through the study and performance of the composer's art song repertoire." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/2644.

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Horseman, Samantha Marie. "Dynamic relationships between the sonic artist, the sonic artwork and its audience : an investigation through theoretically informed creative practice." Thesis, University of Huddersfield, 2012. http://eprints.hud.ac.uk/id/eprint/18077/.

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The following portfolio of sonic artworks and accompanying commentary comprises creative and theoretical research undertaken between 2008 and 2012. Alongside a portfolio and commentary of sonic artworks, it will also feature an exposition of the theoretical concepts that have propelled and informed their creation. At the centre of the research is the development of an integrated theoretical and creative practice in sonic art. I will discuss the context that has led me, as a creative practitioner, to question the nature of the dynamic relationships that potentially operate between both sonic and physical media and the perceptive occupant that inhabits the artwork. The concept of a tri-polar dynamic forms the theoretical crux of this project. It outlines the potential for the perceptive occupant to play a completing role within the portfolio of sonic artworks: a kinetic activation of dormant syncretic potential held within the artistic materials. Influenced by the philosophical models of Nattiez, Kramer, Merleau-Ponty, Delueze and Guattari, the works also explore satellite topics of temporality, the internal monologue and phenomenology. The commentary outlines the creative processes involved in the development of the artworks focussing in particular on how they embody and activate aspects of the tri-polar dynamic. The overarching aim of the research is the development of an integrated approach of both a theoretical and creative exploration of a selfreferential theme: the dynamic relationships between myself as the sonic artist, the creative media with which I work and the perceptive occupant.

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Bart, Carol Vanderbeek. "Developing worship enrichment through congregational song at Ramapo Valley Baptist Church, Oakland, New Jersey." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.

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Books on the topic "Developing relationships through music"

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Developing through relationships: Origins of communication, self, and culture. New York: Harvester Wheatsheaf, 1993.

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Developing through relationships: Origins of communication, self, and culture. Chicago: Unversity of Chicago Press, 1993.

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Garner, Betty K., 1941- author, ed. Developing a learning classroom: Moving beyond management through relationships, relevance, and rigor. Thousand Oaks: Corwin Press, 2012.

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Kent School District (Kent, Wash.). Developing appreciation of music through expression and participation: Music curriculum and student learning objectives, kindergarten through grade twelve. Kent, Washington: Kent School District, 1996.

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Martin-Kniep, Giselle O. Developing learning communities through teacher expertise. Thousand Oaks, Calif: Corwin Press, 2004.

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F, Grunow Richard, ed. Developing Musicianship Through Improvisation, Book 1: C instruments (treble clef). Chicago: GIA Publications, 2006.

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Sickman-Garner, Carol, ed. The More We Get Together:Nurturing Relationships Through Music, Play, Books & Art. Ann Arbor Michigan, USA: little folksters press, 2008.

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Stein, Gari R. The more we get together: Nurturing relationships through music, play, books, and art. Ann Arbor, Mich: Music for Little Folks, 2008.

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Manson, Iain Munro. The enhancement of social skills in young children through a programme based on developing social relationships: An evaluation. [Guildford]: [University of Surrey], 1999.

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Daniel's music: One family's journey from tragedy to empowerment through faith, medicine, and the healing power of music. New York: Skyhorse Pub., 2013.

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Book chapters on the topic "Developing relationships through music"

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Harrison, Angela. "Developing through Music." In Self Awareness and Personal Development, 73–89. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35878-2_6.

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Rose, Chris. "Developing through Relationships with Others." In Self Awareness and Personal Development, 30–43. London: Macmillan Education UK, 2012. http://dx.doi.org/10.1007/978-0-230-35878-2_3.

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McCuiston, Velma E., Corinne B. Young, and Alan D. Harvill. "Developing Sustainable Relationships through B2B E-Commerce." In Herausforderungen an das Management, 121–37. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/978-3-642-56707-0_7.

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Benveniste, Debra H. "Developing a Practice Theory." In Changing Substance Abuse and Criminal Behavior Through Therapeutic Relationships, 115–75. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53039-4_6.

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Thorley, Mark, and Gerhard Roux. "Global Patchbay: Developing Popular Music Expertise Through International Collaboration." In Popular Music Studies Today, 281–89. Wiesbaden: Springer Fachmedien Wiesbaden, 2017. http://dx.doi.org/10.1007/978-3-658-17740-9_29.

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Klestadt, Anouschka. "Recognition: A Business Case for Developing Through Relationships." In Citizenship in Organizations, 225–48. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-60237-0_12.

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Burgon, Hannah Louise. "Developing Attachments, Empathy and Trust through Relationships with Horses." In Equine-Assisted Therapy and Learning with At-Risk Young People, 105–24. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137320872_5.

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Ogan, Amy, Vincent Aleven, Julia Kim, and Christopher Jones. "Developing Interpersonal Relationships with Virtual Agents through Social Instructional Dialog." In Intelligent Virtual Agents, 236–49. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15892-6_25.

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Creech, Andrea, Maria Varvarigou, and Susan Hallam. "Developing Musical Possible Selves Through Learning with Technology and Social Media." In Contexts for Music Learning and Participation, 223–38. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48262-6_12.

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Ogura, Shinji. "Formation of the Mitsui Group through Loan Relationships, 1945–60." In Banking, the State and Industrial Promotion in Developing Japan, 1900–73, 57–85. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230598126_4.

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Conference papers on the topic "Developing relationships through music"

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Tanasković, Marija. "REGGIO EMILIA APPROACH – THE POSSIBILITY OF INTEGRATION IN PRESCHOOL MUSIC EDUCATION." In SCIENCE AND TEACHING IN EDUCATIONAL CONTEXT. FACULTY OF EDUCATION IN UŽICE, UNIVERSITY OF KRAGUJEVAC, 2020. http://dx.doi.org/10.46793/stec20.407t.

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The essence of the educational process is precisely in providing favorable conditions, as well as encouraging and supporting the optimal development of children. It should contain a certain sequence of operations and contents to accelerate and enhance development, but at the same time to be flexible, adaptable and open to children’s needs, interests and opportunities. Preschool education is the first, the most important step in forming a relationship to the general culture of an environment, to music and art in general. Accordingly, an important goal in planning any music program for children is to recognize their interests and attitudes toward different musical activities. One of the goals of Basis of the Program – Years of Ascent, for children to develop dispositions for lifelong learning such as openness, curiosity, resilience, reflexivity, perseverance, self-confidence and a positive personal and social identity, is similar to the goal of Reggio Emilia’s approach in which children are viewed as active authors of their own development, i.e. that they will learn everything they need to learn, at the moment they are ready for it. Learning is focused on children – on their competencies, not on their shortcomings. The approach is based on the idea that each child has “a hundred languages” to express the characteristics of the world around him/her. Children are developing and are encouraged to symbolically represent ideas and feelings through any of their hundred languages (expressive, communicative and cognitive), words, movements, drawings, painting, creativity, sculpture, play, collage, drama, music, etc. Approach Reggio Emilia emphasizes the importance of the process of researching and using art in the social environment. Children acquire knowledge and abilities to express their thoughts and ideas through creation. Therefore, the paper discusses the possibility of integration of contents and activities from the Reggio Emilia approach in preschool music education, with aim to improve it.

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Ganguli, Kaustuv Kanti, Oscar Gomez, Leonid Kuzmenko, and Carlos Guedes. "Developing immersive VR experience for visualizing cross-cultural relationships in music." In 2020 IEEE Conference on Virtual Reality and 3D User Interfaces Abstracts and Workshops (VRW). IEEE, 2020. http://dx.doi.org/10.1109/vrw50115.2020.00086.

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Dorman, Saskie, Adrienne Rogers, Fiona Macdonald, Sarah Howard, and Andy Brogan. "107 Results through relationships: developing core capabilities in end of life care." In The APM’s Supportive & Palliative Care Conference, Accepted Oral and Poster Abstract Submissions, The Harrogate Convention Centre, Harrogate, England, 21–22 March 2019. British Medical Journal Publishing Group, 2019. http://dx.doi.org/10.1136/bmjspcare-2019-asp.130.

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Fayos, Teresa, Haydeé Calderón, and Blanca Moreno de Castro. "WHICH VALUES ARE CO-CREATED THROUGH UNIVERSITY-BUSINESS RELATIONSHIPS IN DEVELOPING COUNTRIES?" In 12th annual International Conference of Education, Research and Innovation. IATED, 2019. http://dx.doi.org/10.21125/iceri.2019.0117.

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Avanzini, Federico, Adriano Baratè, Mauro Cottini, Luca Andrea Ludovico, and Marcella Mandanici. "Developing Music Harmony Awareness in Young Students through an Augmented Reality Approach." In 4th International Conference on Computer-Human Interaction Research and Applications. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0010144700560063.

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Nishino, Hiroki. "Developing a new computer music programming language in the 'research through design' context." In the 3rd annual conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2384716.2384736.

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Hendrick, Gary, James Tuckerman, Mario Juha, and Nathan Crane. "Experimental Approach for Developing and Testing Predictive Self-Assembly Models." In ASME 2009 International Mechanical Engineering Congress and Exposition. ASMEDC, 2009. http://dx.doi.org/10.1115/imece2009-11629.

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Testing methods and apparatus for studying capillary self-assembly processes are presented. This system permits the control of key self-assembly process variables so that relationships between process rates and yields and the process variables can be tested. Part arrival energies and angles are controlled by dropping through a fluid at terminal velocity onto fixed substrate binding sites. Using this system, the assembly probability at the low energy limit is shown to match a simple area fraction relationship.

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Mishra, Shveata, and Ina Shastri. "THE ROLE OF MUSIC IN PSYCHOLOGICAL AND EMOTIONAL DEVELOPMENT." In International Psychological Applications Conference and Trends. inScience Press, 2021. http://dx.doi.org/10.36315/2021inpact012.

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"It is widely believed that a truly “whole” person is one whose intellectual and emotional responses are normally developed; yet our patterns in education tend to stress the intellectual and ignore the emotional. Te arts, because of their emotional demands, make for. stronger bond between persons who can share in the art experience. This is especially so of music which has a long been termed the universal tongue. It is a form of communication in which every human being can participate. Many studies have shown that it is not by accident that we find minimal behaviour problems among the students who are involved with music study. It is now believed that the child who becomes involved in expressing himself/herself through the media of music takes on new dimensions in his or her psychological, behavioural and sociological relationships. It is this paper, we shall draw upon the experiences of music educationists from various countries, and as a consequence, it is reaffirmed that for a holistic and balanced development of students personalities music study should be mandatory in school curricula."

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McGuire, Kathleen, and Joanne Harris. "DEVELOPING PRE-SERVICE MUSIC TEACHERS’ CAPACITIES TO PREPARE AND LEAD ENSEMBLES IN AN ONLINE ENVIRONMENT, THROUGH AUTHENTIC IMMERSION IN A CROSS-CAMPUS PERFORMANCE." In 13th International Conference on Education and New Learning Technologies. IATED, 2021. http://dx.doi.org/10.21125/edulearn.2021.0785.

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Calegario, Filipe, Giordano Cabral, and Geber Ramalho. "MusTIC: Research and Innovation Group on Music, Technology, Interactivity and Creativity." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10441.

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MusTIC is a research and innovation group concerned in conceiving and developing products and experiences that have an impact on music, education, visual and performing arts, and entertainment. In particular, we have been working with tools, methods, and concepts from physical computing, interaction design, and signal processing to build new interfaces for artistic expression, to develop tools for rapid prototyping, and to improve education through robotics and gamification.

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Reports on the topic "Developing relationships through music"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.

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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.

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Dalglish, Chris, and Sarah Tarlow, eds. Modern Scotland: Archaeology, the Modern past and the Modern present. Society of Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.163.

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The main recommendations of the panel report can be summarised under five key headings:  HUMANITY The Panel recommends recognition that research in this field should be geared towards the development of critical understandings of self and society in the modern world. Archaeological research into the modern past should be ambitious in seeking to contribute to understanding of the major social, economic and environmental developments through which the modern world came into being. Modern-world archaeology can add significantly to knowledge of Scotland’s historical relationships with the rest of the British Isles, Europe and the wider world. Archaeology offers a new perspective on what it has meant to be a modern person and a member of modern society, inhabiting a modern world.  MATERIALITY The Panel recommends approaches to research which focus on the materiality of the recent past (i.e. the character of relationships between people and their material world). Archaeology’s contribution to understandings of the modern world lies in its ability to situate, humanise and contextualise broader historical developments. Archaeological research can provide new insights into the modern past by investigating historical trends not as abstract phenomena but as changes to real lives, affecting different localities in different ways. Archaeology can take a long-term perspective on major modern developments, researching their ‘prehistory’ (which often extends back into the Middle Ages) and their material legacy in the present. Archaeology can humanise and contextualise long-term processes and global connections by working outwards from individual life stories, developing biographies of individual artefacts and buildings and evidencing the reciprocity of people, things, places and landscapes. The modern person and modern social relationships were formed in and through material environments and, to understand modern humanity, it is crucial that we understand humanity’s material relationships in the modern world.  PERSPECTIVE The Panel recommends the development, realisation and promotion of work which takes a critical perspective on the present from a deeper understanding of the recent past. Research into the modern past provides a critical perspective on the present, uncovering the origins of our current ways of life and of relating to each other and to the world around us. It is important that this relevance is acknowledged, understood, developed and mobilised to connect past, present and future. The material approach of archaeology can enhance understanding, challenge assumptions and develop new and alternative histories. Modern Scotland: Archaeology, the Modern past and the Modern present vi Archaeology can evidence varied experience of social, environmental and economic change in the past. It can consider questions of local distinctiveness and global homogeneity in complex and nuanced ways. It can reveal the hidden histories of those whose ways of life diverged from the historical mainstream. Archaeology can challenge simplistic, essentialist understandings of the recent Scottish past, providing insights into the historical character and interaction of Scottish, British and other identities and ideologies.  COLLABORATION The Panel recommends the development of integrated and collaborative research practices. Perhaps above all other periods of the past, the modern past is a field of enquiry where there is great potential benefit in collaboration between different specialist sectors within archaeology, between different disciplines, between Scottish-based researchers and researchers elsewhere in the world and between professionals and the public. The Panel advocates the development of new ways of working involving integrated and collaborative investigation of the modern past. Extending beyond previous modes of inter-disciplinary practice, these new approaches should involve active engagement between different interests developing collaborative responses to common questions and problems.  REFLECTION The Panel recommends that a reflexive approach is taken to the archaeology of the modern past, requiring research into the nature of academic, professional and public engagements with the modern past and the development of new reflexive modes of practice. Archaeology investigates the past but it does so from its position in the present. Research should develop a greater understanding of modern-period archaeology as a scholarly pursuit and social practice in the present. Research should provide insights into the ways in which the modern past is presented and represented in particular contexts. Work is required to better evidence popular understandings of and engagements with the modern past and to understand the politics of the recent past, particularly its material aspect. Research should seek to advance knowledge and understanding of the moral and ethical viewpoints held by professionals and members of the public in relation to the archaeology of the recent past. There is a need to critically review public engagement practices in modern-world archaeology and develop new modes of public-professional collaboration and to generate practices through which archaeology can make positive interventions in the world. And there is a need to embed processes of ethical reflection and beneficial action into archaeological practice relating to the modern past.

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Hunter, Fraser, and Martin Carruthers. Iron Age Scotland. Society for Antiquaries of Scotland, September 2012. http://dx.doi.org/10.9750/scarf.09.2012.193.

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The main recommendations of the panel report can be summarised under five key headings:  Building blocks: The ultimate aim should be to build rich, detailed and testable narratives situated within a European context, and addressing phenomena from the longue durée to the short-term over international to local scales. Chronological control is essential to this and effective dating strategies are required to enable generation-level analysis. The ‘serendipity factor’ of archaeological work must be enhanced by recognising and getting the most out of information-rich sites as they appear. o There is a pressing need to revisit the archives of excavated sites to extract more information from existing resources, notably through dating programmes targeted at regional sequences – the Western Isles Atlantic roundhouse sequence is an obvious target. o Many areas still lack anything beyond the baldest of settlement sequences, with little understanding of the relations between key site types. There is a need to get at least basic sequences from many more areas, either from sustained regional programmes or targeted sampling exercises. o Much of the methodologically innovative work and new insights have come from long-running research excavations. Such large-scale research projects are an important element in developing new approaches to the Iron Age.  Daily life and practice: There remains great potential to improve the understanding of people’s lives in the Iron Age through fresh approaches to, and integration of, existing and newly-excavated data. o House use. Rigorous analysis and innovative approaches, including experimental archaeology, should be employed to get the most out of the understanding of daily life through the strengths of the Scottish record, such as deposits within buildings, organic preservation and waterlogging. o Material culture. Artefact studies have the potential to be far more integral to understandings of Iron Age societies, both from the rich assemblages of the Atlantic area and less-rich lowland finds. Key areas of concern are basic studies of material groups (including the function of everyday items such as stone and bone tools, and the nature of craft processes – iron, copper alloy, bone/antler and shale offer particularly good evidence). Other key topics are: the role of ‘art’ and other forms of decoration and comparative approaches to assemblages to obtain synthetic views of the uses of material culture. o Field to feast. Subsistence practices are a core area of research essential to understanding past society, but different strands of evidence need to be more fully integrated, with a ‘field to feast’ approach, from production to consumption. The working of agricultural systems is poorly understood, from agricultural processes to cooking practices and cuisine: integrated work between different specialisms would assist greatly. There is a need for conceptual as well as practical perspectives – e.g. how were wild resources conceived? o Ritual practice. There has been valuable work in identifying depositional practices, such as deposition of animals or querns, which are thought to relate to house-based ritual practices, but there is great potential for further pattern-spotting, synthesis and interpretation. Iron Age Scotland: ScARF Panel Report v  Landscapes and regions:  Concepts of ‘region’ or ‘province’, and how they changed over time, need to be critically explored, because they are contentious, poorly defined and highly variable. What did Iron Age people see as their geographical horizons, and how did this change?  Attempts to understand the Iron Age landscape require improved, integrated survey methodologies, as existing approaches are inevitably partial.  Aspects of the landscape’s physical form and cover should be investigated more fully, in terms of vegetation (known only in outline over most of the country) and sea level change in key areas such as the firths of Moray and Forth.  Landscapes beyond settlement merit further work, e.g. the use of the landscape for deposition of objects or people, and what this tells us of contemporary perceptions and beliefs.  Concepts of inherited landscapes (how Iron Age communities saw and used this longlived land) and socal resilience to issues such as climate change should be explored more fully.  Reconstructing Iron Age societies. The changing structure of society over space and time in this period remains poorly understood. Researchers should interrogate the data for better and more explicitly-expressed understandings of social structures and relations between people.  The wider context: Researchers need to engage with the big questions of change on a European level (and beyond). Relationships with neighbouring areas (e.g. England, Ireland) and analogies from other areas (e.g. Scandinavia and the Low Countries) can help inform Scottish studies. Key big topics are: o The nature and effect of the introduction of iron. o The social processes lying behind evidence for movement and contact. o Parallels and differences in social processes and developments. o The changing nature of houses and households over this period, including the role of ‘substantial houses’, from crannogs to brochs, the development and role of complex architecture, and the shift away from roundhouses. o The chronology, nature and meaning of hillforts and other enclosed settlements. o Relationships with the Roman world

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