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Dissertations / Theses on the topic 'Instrumental conducting'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Sousa, Gary Donn. "Musical conducting emblems : an investigation of the use of specific conducting gestures by instrumental conductors and their interpretation by instrumental performers." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1217257892.

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2

Moss, Bruce Burbank. "Differential approaches to rehearsing and conducting an instrumental ensemble." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.

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3

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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4

O'Connor, Alexander J. "A Comparative Analysis of Rehearsal Techniques for Instrumental Ensembles During Group Playing." Wittenberg University Honors Theses / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1617960102315298.

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5

Chapman, Christopher Carl. "An investigation of current instruction practices for the undergraduate instrumental conducting student concerning left hand technique and facial gestures /." Thesis, Connect to this title online; UW restricted, 2008. http://hdl.handle.net/1773/11302.

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6

Hamilton, Craig V. "A Recommended Curriculum for Teaching Score Study in the Undergraduate Instrumental Conducting Class." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279291/.

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The purpose of this study was to create and gain consensus of an essential curriculum for teaching score study in the undergraduate instrumental conducting class. Questions to be answered by this study were what methods, materials, and evaluations should be used to teach score study to undergraduate instrumental conducting students? Resolving the questions required the collection of information on the methods, materials, and evaluations used in teaching score preparation in the undergraduate instrumental conducting class and the opinions of conductors and teachers of conducting about those methods, materials, and evaluations.

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7

Locy, Raymond S. "The effect of instrumental timbre preference and instrumental timbre on the pitch error detection skills of university conducting students." Diss., Virginia Tech, 1996. http://hdl.handle.net/10919/39543.

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The purpose of this study was to determine the effect of instrumental timbre preference and instrumental timbre on the error detection skills of undergraduate conducting students. The study sought to answer two specific questions: Is timbre preference, as determined by Gordon's (1984) Instrumental Timbre Preference Test (ITPT), a factor in the ability of undergraduate conducting students to detect errors in pitch in short melodies while viewing the score? Is the ability of undergraduate conducting students to detect pitch errors in melodic passages influenced by the instrumental timbres of the band ensemble? To answer these two questions, Gordon's ITPT and the researcher developed Test of Timbre Effect (TTE) were administered to 147 undergraduate conducting students in 11 colleges and universities in Virginia, North Carolina, and Tennessee. The TTE was designed to consist of seven different subtests, each intended to be administered to a different sample of homogeneous undergraduate conducting students. Each subtest consisted of 14 randomized test items, including two melodies designated as "target melodies" that differed only in timbre across the subtests. The effect of timbre preference, timbre, and the interaction of the two independent variables was determined by a 2 x 7 analysis of covariance (ANCOVA) of each target melody. Further analysis was conducted using a two-way multivariate analysis of covariance (MANCOVA). Results indicated that timbre preference, timbre, and the interaction of timbre preference and timbre did not have an effect on the ability of undergraduate conducting students to detect pitch errors in short melodic passages.
Ed. D.

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8

Crowe, Don Raymond. "Error detection abilities of conducting students under four modes of instrumental score study." Diss., The University of Arizona, 1994. http://hdl.handle.net/10150/186656.

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This study investigated the effect of four score study styles--no score study, study with score alone, study with score and a correct aural example, and score study at the electronic keyboard--on the pitch and rhythm error detection abilities of beginning conducting students. Subjects were 30 members of undergraduate beginning conducting classes at three midwestern universities. Four tests were developed, each having 31 four- to six-measure excerpts from band literature. Each excerpt contained only one error. Excerpts were grouped according to difficulty and assigned to tests in a modified random manner to facilitate equality of difficulty between sets. Within each test, excerpts were arranged in order of increasing difficulty and rescored to contain from one to eight parts. A counterbalanced design was utilized featuring a Latin Square into which the four score study styles were entered. Over the course of four sessions subjects received all four styles and all four tests. The orders in which subjects received score study styles were assigned on a rotational basis. Each subject within a university received the tests in the same order, but this order varied between universities. Six Hypercard © (Atkinson, 1987-90) stacks were developed on a Macintosh LC computer for presentation of the tests, management of the study, and data collection. Excerpts were played through MIDI keyboards using sampled wind instrument sounds. Study with the score and a correct aural example was found to be significantly more effective than either study with the score alone or no study. No significant difference was found between score study at the keyboard and any other score study style. There were significant differences in test scores attributable to the number of parts in examples. Generally, error detection became more difficult as the number of parts in examples increased. There were no significant differences in test scores attributable to the order of presentation of score study styles, individual example sets, or groups/order of presentation of example sets. There were significant differences in means score study time per session attributable to score study style, and in mean total time per session attributable to session number.

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9

Mayne, Richard Gary. "An investigation of the use of facial expression in conjunction with musical conducting gestures and their interpretation by instrumental performers." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1248972542.

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10

Waggoner, Dori T. Sims Wendy L. "The effects of listening conditions, error types, and ensemble textures on the error detection skills of undergraduate instrumental music education majors." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/7022.

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Title from PDF of title page (University of Missouri--Columbia, viewed on March 1, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy Sims. Vita. Includes bibliographical references.

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11

Seago, Erica. "A report in instrumental conducting including an analysis of Dances of Innocence by Jan van der Roost and Air for Band by Frank Erickson." Kansas State University, 2016. http://hdl.handle.net/2097/32654.

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Master of Music
Department of Music, Theatre, and Dance
Frank C. Tracz
Three essential components of wind band conducting are as follows: music selection, score study, and rehearsal planning. This report contains an analysis and rehearsal plan for two band works and a discussion on quality literature selection for band as well as a personal philosophy of music education and student learning. The two works presented are Dances of Innocence by Jan van der Roost and Air for Band by Frank Erickson.

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12

Sidoti, Vincent James. "The effects of expressive and nonexpressive conducting on the performance accuracy of selected expression markings by individual high school instruments." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1299081043.

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13

Blanc, Gilles. "Problème inverse multidimensionnel de conduction de la chaleur : optimisation du positionnement des capteurs et utilisation des mesures de thermo-déformations." Lyon, INSA, 1996. http://www.theses.fr/1996ISAL0009.

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Cette étude est composée de deux axes de recherche qui tendent à améliorer la résolution du problème inverse multidimensionnel de conduction de la chaleur. Le premier axe de recherche est la mise au point d'une méthodologie de placement des capteurs, présentée pour des problèmes bidimensionnels, mais qui peut être facilement appliquée à des problèmes tridimensionnels. Cette méthodologie est basée sur le calcul et l'étude du "taux de représentation". Cette nouvelle notion permet de déterminer la quantité et la qualité de l'information recueillie par les capteurs. Le taux de représentation est un outil d'aide à la décision efficace et nouveau, dont la détermination, grâce à méthode de la matrice transposée, est rapide. La démarche proposée a été validée à l'aide d'un montage expérimental. Le deuxième axe de recherche est l'utilisation de mesures de thermo-déformations pour estimer les conditions limites thermiques. On a pu montrer que l'inversion à partir des déformations présentait deux avantages par rapport à l'inversion, plus classique, basée sur les mesures de températures : elle permet de retrouver des fréquences plus élevées et d'utiliser moins de capteurs pour les problèmes bidimensionnels. Son principal inconvénient est, pour le moment, son utilisation limitée à des solides poutres. Les résultats issus de la simulation numérique ont été confirmés par le traitement de données expérimentales acquises sur un montage conçu et réalisé dans le cadre cette étude
This work is devoted to the solution of the inverse multidimensional heat conduction problem. The first part is the determination of a methodology for determining the minimum number of sensors and the best sensor locations. The method is applied to a 2D problem but the extension to 3D problems is quite obvious. This methodology is based on the study of the rate of representation. This new concept allows to determine the quantity and the quality of the information obtained from the various sensors. The rate of representation is a useful tool for experimental design. It can be determined very quickly by the transposed matrix method. This approach was validated with an experimental set-up. The second part is the development of a method that uses thermal strain measurement instead of temperature measurements to estimate the unknown thermal boundary conditions. We showed that this new sensor has two advantages in comparison with the classica1 temperature measurements: higher frequency can be estimated and smaller number of sensors can be used for 2D problems. The main weakness is, presently, the fact that the method can only be applied to beams. The results obtained from the numerical simulations were validated by the analysis of experimental data obtained on an experimental set-up especially designed and built for this study

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14

Howell, Matthew Clayton. "A Conductor's Introduction to the Performance of Modern Japanese Choral Music." Diss., The University of Arizona, 2008. http://hdl.handle.net/10150/196096.

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Currently in Japan there are 5,202 choirs registered as part of the Japan Choral Association. The majority of these choirs are amateur or professional choirs. This situation contrasts with that in the United States where colleges and universities are the primary entities perpetuating the advancement of the choral art. Most likely because of this, there is little if any academic investigation of modern Japanese choral music. Even in Japan, there is not a substantial body of academic study of this literature. As a result, this repertoire is seldom, if ever, performed outside of Japan.Numerous problems confront Western choral conductors interested in programming modern Japanese choral music that is based on traditional Japanese musical idioms. In this document, I have provided information that will allow Japanese choral literature to be accessible to non-Japanese speaking conductors. This information is divided into four areas. First, an overview of Japanese music history is provided. Next, a discussion of the elements of traditional Japanese music such as genre types, modes and tonalities provides the necessary background for a conductor to approach modern Japanese choral music. Third, a practical method whereby non-Japanese speaking choral conductors may transcribe the two phonetic Japanese alphabets into readable English phonetics is proposed. Fourth, a practical approach to the performance of modern Japanese choral music, inclusive of various musical genres, voicing, and instrumental complements is suggested. Discussion of representative choral works by three native composers including a work based on a folk tune, a work for women's chorus, a work for men's chorus, and a composition for mixed chorus and traditional Japanese instrumental complement provides concrete application of the aforementioned discussions.Lastly, in this document I will provide information on several contemporary native Japanese composers, their compositions, and their publishing companies to facilitate the acquisition and performance of this rich choral repertory.

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15

Odunaiya, Simbo Ajayi. "A mathematical model to aid in the design of ameliorating cosmetics for conducting surfaces that ordinarily produce derogative multipath for the ILS localizer course." Ohio : Ohio University, 1995. http://www.ohiolink.edu/etd/view.cgi?ohiou1174610226.

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16

Sarasúa, Berodia Álvaro. "Musical interaction based on the conductor metaphor." Doctoral thesis, Universitat Pompeu Fabra, 2017. http://hdl.handle.net/10803/404675.

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Interface metaphors are often used in Human Computer Interaction (HCI) to exploit knowledge that users already have from other domains. A commonly used one in Digital Musical Instruments (DMIs) is the conductor metaphor. We theorize that part of the knowledge that users have from the domain that the interface metaphor replicates is user-specific. In this context, we argue that systems using an interface metaphor can see their usability improved by adapting to this user-specific knowledge. We propose strategies to design motion-sound mappings for DMIs that draw upon the conductor metaphor by adapting to personal nuances that can be automatically computed from spontaneous conducting movements. In addition to the above, we study the potential of the conductor metaphor in a gaming context as a mean to raise interest for classical music. These contributions are complemented by the data collected in all observational studies, which is made publicly available to the community
Las metáforas de interfaz se utilizan habitualmente en la interacción persona-ordenador para explotar el conocimiento que los usuarios tienen de otros dominios. Una comúnmente utilizada en instrumentos musicales digitales (DMIs) es la metáfora del director. Argumentamos que parte del conocimiento que los usuarios tienen del dominio que la metáfora replica es específico de cada usuario. En este contexto, proponemos que sistemas que hacen uso de metáforas de interfaz pueden mejorar su usabilidad adaptándose a este conocimiento específico. Implementamos estrategias para diseñar mapeos entre movimiento y sonido para DMIs basados en la metáfora del director, mediante la adaptación a matices personales que pueden ser automaticamente extraídos analizando movimientos de dirección espontáneos. Además, estudiamos el potencial de la metáfora del director en un contexto de juego, como medio para incrementar el interés por la música clásica. Estas contribuciones se complementan con los datos recopilados en los estudios observacionales, que se ponen a disposicion pública para la comunidad.

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17

Jaspard, Frédéric. "Caractérisation diélectrique du sang par spectroscopie de bio-impédance dans la bande [1 MHz - 1 Ghz] : conception et réalisation d'une cellule de mesure." Nancy 1, 2001. http://www.theses.fr/2001NAN10191.

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Le comportement électrique d'un tissu biologique est entièrement décrit par la permittivité et la conductivité électrique. La connaissance de ces deux paramètres diélectriques est donc primordiale dans l'étude des interactions ondes électromagnétiques / tissus biologiques. L'instrumentation développée au cours de ce travail est dédiée à la mesure des paramètres diélectriques du sang sur la gamme de fréquences [1 MHz - 1 GHz]. L'appareillage est constitué d'un impédancemètre (méthode V/I) associé à une cellule de mesure de type sonde coaxiale ouverte. Cette géométrie est parfaitement adaptée à la mesure sur liquide et facilite la prise en compte des effets propagatifs apparaissant en hautes fréquences. Un circuit électrique équivalent permet de rendre compte du comportement électrique de la sonde et de relier la grandeur mesurée (impédance) aux paramètres recherchés. Une campagne de mesures des grandeurs diélectriques du sang humain et animal (bœuf et mouton) a été menée à bien. L'étude de l'évolution de ces paramètres en fonction des principaux facteurs influents a souligné le rôle important de la température et de l'hématocrite.

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18

Sbaibi, Ahmed. "Contribution à l'étude du comportement statique et dynamique des capteurs thermiques (fils froids, fils chauds et thermocouples) en présence de différents modes de transferts thermiques." Rouen, 1987. http://www.theses.fr/1987ROUES030.

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Etude à la fois théorique et expérimentale dans le cas des écoulements gazeux subsoniques. Les résultats expérimentaux relatifs aux constantes de temps des capteurs dans des situations convectives ou radiatives et aux fonctions de transfert des fils chauds et fils froids sont en bon accord avec l'analyse théorique présentée dans ce mémoire

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19

Bushman, Catharine. "Doctoral thesis recital (conducting)." 2011. http://hdl.handle.net/2152/16113.

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20

Powell, Sean Robert. "The effect of Elizabeth A. H. Green's conception of psychological conducting on the ability of beginning instrumental conducting students to communicate through gesture /." 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3314866.

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Thesis (Ed.D.)--University of Illinois at Urbana-Champaign, 2008.
Source: Dissertation Abstracts International, Volume: 69-05, Section: A, page: 1713. Adviser: Joseph Manfredo. Includes bibliographical references (leaves 119-126) Available on microfilm from Pro Quest Information and Learning.

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21

"Expert Memory and Instrumental Conductors: Interactions between Long-Term and Short-Term Memory." Doctoral diss., 2017. http://hdl.handle.net/2286/R.I.44031.

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abstract: By examining the cognitive mechanisms behind human memory, the author hypothesizes that instrumental conductors can more quickly and effectively internalize music scores. With this theory, conductors could offer more informed and nuanced communications to their ensembles. Furthermore, these ideas could be incorporated into how conducting is taught to younger students by cultivating a more in-depth understanding of the music being studied. This research paper surveys current trends in cognitive science related to the interactions of long-term memory (LTM) and short-term memory (STM) concerning score study and memorization employed by instrumental conductors. The research is divided into three sections, beginning with an examination of the key literature from the field of cognitive science. It continues with an overview of current musicological research and applications and finally concludes with a review of current instrumental conducting pedagogy that include discussions of memory. Moreover, recommended steps and a potential framework to incorporate cognitive science research into future conducting pedagogies are further outlined. The primary cognitive theory of focus is the Working Memory Theory of Alan Baddeley and Graham Hitch.
Dissertation/Thesis
Doctoral Dissertation Music 2017

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22

Boardman, Shelly Marie. "A survey of the undergraduate instrumental conducting course in Region Seven of the National Association of Schools of Music." 2000. http://purl.galileo.usg.edu/uga%5Fetd/boardman%5Fshelly%5Fm%5F200005%5Fdma.

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23

Hartenberger, Jaclyn. "Doctoral thesis recital (wind conducting)." 2011. http://hdl.handle.net/2152/16876.

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Ouverture fur Harmoniemusik, op. 24 / Felix Mendelssohn-Bartholdy -- Concertino for flute, op. 107 / Cecile Chaminade -- Octet, op. 103 / Ludwig van Beethoven -- Ragtime for eleven instruments / Igor Stravinsky.
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24

Chen, Chun-Li, and 陳君笠. "A Study on Literature and Conducting of Stravinsky's "Symphonies of Wind Instruments"." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/81655070045305471626.

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碩士
國立臺灣師範大學
音樂學系
104
Symphonies of Wind Instruments by Igor Stravinsky is always a challenge for conductors. From the conductor’s perspective, this thesis looks into the composer’s life and the composition background of Symphonies of Wind Instruments; as well as the structures, forms, themes, motives and tempo changes in the piece. The thesis focuses on the conducting technique, and hopes to find hopes the best solutions for conductor who is interested in performing this piece.

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