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Relevant bibliographies by topics / Master of Music Thesis

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Academic literature on the topic 'Master of Music Thesis'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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Journal articles on the topic "Master of Music Thesis"

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Fikri, Mohammad Tsaqibul, and Zulkarnain Mistortoify. "PROSPEL: KEMUNCULANNYA PADA MUSIK KERONCONG." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 12, no. 2 (2019): 51–61. http://dx.doi.org/10.33153/dewaruci.v12i2.2527.

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ABSTRAKTulisan dalam jurnal ini merupakan salah satu bagian dari pembahasan penelitian tesis dengan judul “Prospel: Wujud, Eksistensi dan Peranannyadalam musik keroncong” oleh penulis dan sebagai bagian dari ujian akhir magister.Fokus kajian tulisan ini adalah kemunculan prospel pada lagu keroncong. Prospel merupakan salah satu fenomena musikal sebagai pembuka lagu keroncong yang diduga muncul karena adaptasi dari repertoar komposisi musik Barat. Persentuhan dengan komposisi musik Barat tersebut tidak lepas dari pengaruh Belanda pada saat melakukan ekspansi di Nusantara. Adaptasi tersebut kemudian menjadi sebuah fenomena yang berkembang dan bertahan pada lagu-lagu keroncong hingga sampai saat ini.Prospel kemudian menjadi salah satuciri khas dalam musik keroncong.Kata kunci: kemunculan, pembuka lagu, adaptasi, ciri khas.ABSTRACTThe journal is one part of the discussion of the research thesis entitled “Prospel: Being, Existence and His Role in Keroncong” by writer and as part of the final exam master. The case of studies is the emergence prospel article on keroncong. Prospel is one of the musical phenomenon as the opening song kroncong in my prediction emerged as an adaptation of the repertoire of Western music composition. Exposure to Western music composition could not be separated from the Dutch influence at the time of expansion in the archipelago. These adaptations became a phenomenon to grow and survive in songs Keroncong until today. Prospel later became one characteristic in keroncong music.Keywords: appearance, the opening song, adaptation, characteristic.

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Tanınmış, Gamze Elif, and Şebnem Yıldırım Orhan. "Master theses and doctoral dissertations conducted between 1986 and 2009 in music education." Procedia - Social and Behavioral Sciences 2, no. 2 (2010): 5051–58. http://dx.doi.org/10.1016/j.sbspro.2010.03.820.

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Helenius, Anna. "Yksi identiteetti monesta peilistä – kanttorin ammatillisen identiteetin ytimessä." Trio 10, no. 1 (2021): 74–78. http://dx.doi.org/10.37453/trio.110127.

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This doctoral thesis focuses on cantors’ professional identity. The study material was collected from ten cantors in Finland. Findings include the following themes: lengthy study, high levels of study effort, love for music, critical attitude towards mastery of the profession, fragmentariness of work, ambiguity of boundaries between work and leisure, the idea of working as a lifestyle, striving for high quality and the experience of spirituality as an essential part of work.

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Tschigareva, Evgenia. "Zur Bartók-Rezeption in Russland." Studia Musicologica 48, no. 1-2 (2007): 225–36. http://dx.doi.org/10.1556/smus.48.2007.1-2.15.

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Abstract Béla Bartók's sympathies towards Russian culture are well-known, as is the veneration of the Hungarian master by Russian musicians. During the course of three quarters of a century the image of Bartók the composer and folklore researcher has gradually infolded itself to Russian musical circles as well as the broad strata of music lowers. This thesis presents an integral overview of the reception of Bartók in Russia: the perception of his musical legacy by composers, musicological research about him, performances and publications of his works in Russia, comments from the press, and of music critics, etc. At the same time a particular evolution could be traced: an active interest towards Bartók the composer and pianist in the 1920s, then a nearly twenty-five years “pause;” in the 1950's a perception of him primarily as a folklor researcher as well as a progressive musical public figure at that an aversion from the official policy makers of his musical style as an “avant-garde” style during the dominance of the doctrine of “socialist realism;” the discovery of Bartók's innovative style, his influence on the young Soviet composers (E. Denisov, A. Schnittke, S. Gubaidulina) during the 1960's and 1970's; an overall comprehensive study of his musical legacy and the recognition of his significance (1960's–1980's), a decline of interest towards Bartók (as a classic) as a result of the stream of information, gushing from the West, having to do with the “new music” of the avant-garde of the “second wave” and the “post-avantgarde” trends (during the 1990's); a resurgence of interest at the turn of the century and an acquiescence of Bartók's artistic path as being perspective for musical art.

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Kaztuganova, A. Zh, A. K. Omarova, R. U. Stamgazyev, D. F. Karomat, and D. A. Nurbaeva. "ETHNOMUSIC, ETHNOPHORE, ETHNOGRAPHER." BULLETIN 389, no. 1 (2021): 322–28. http://dx.doi.org/10.32014/2021.2518-1467.43.

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The article presents issues related to the study of the triad of «ethno music, ethnophor, ethnographer» in the axiological aspect. Their research is updated in connection with the consideration of the trinity of «ethno music, ethnophor, ethnographer» in the global world from the point of view of the spiritual and cultural values of the Kazakh people aimed to increase their importance in modern society. The necessity of theoretical understanding of the problem «ethno ear» («auditory abilities of the ethnos») is revealed - which is a common «tool» in the trinity of the concepts of ethno music, ethnophor and ethnographer, which is the rationale for such important moments related to national identity as «intonation specificity», «culture of listening / listening», « memorizing skills», «ways of articulation», etc. It is emphasized that in the course of analyzing the genres that form the basis of ethno music, it is advisable to re-examine the contribution of outstanding personalities – those people who have managed to transmit them to the present day, and those who have been able to record them. Moreover, not considering the examples, methods of upbringing, lifestyle and worldview, customs and traditions of the ancestors only as a shady of images of the distant past or book values, but working to ensure their real «return» to everyday life through the firm fixation in the minds of the younger generations. Thanks to this, one can awaken the respect for the national cultural heritage in young people. In the course of the development of these issues by genre directions, the works of domestic researchers, scientists from foreign and CIS countries were taken into account. The main theses of the article can serve in the future as a guide and necessary support for students of traditional music, secondary specialized and higher educational institutions, Master, PhD students and teachers.

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Payne, Ian. "The Will and Probate Inventory of John Holmes (d 1629): Instrumental Music at Salisbury and Winchester Cathedrals Revisited." Antiquaries Journal 83 (September 2003): 369–96. http://dx.doi.org/10.1017/s0003581500077738.

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The recent discovery of probate material relating to John Holmes (d 1629), a provincial Jacobean cathedral organist and composer, provides three valuable references to the use of musical instruments at Salisbury Cathedral before the Civil War. These prove that the Choristers' House, where Holmes lived, contained in 1629 a consort of viols, with other (unspecified) instruments, four virginals and an organ. This evidence, though fragmentary and circumstantial, may be read in the context of what is known about the practice of instrumental music in other English cathedrals. The references can then be used to support three generally accepted theses: first, that viols were used for teaching purposes (and possibly also in a flourishing adult musical circle centred on Salisbury Cathedral, for which there is strong circumstantial evidence), rather than in liturgical contexts; second, that sackbutts and cornetts most probably doubled the voices in the choir; and third, that the organ remained the principal instrument of choral accompaniment even in the first decade of the Restoration period. Holmes had previously served as organist and master of the choristers at Winchester Cathedral, where there is also circumstantial evidence of viol-teaching activity since 1618, where wind instruments were employed (probably liturgically) in the sixteenth century, and where Holmes may have composed at least one piece of instrumental consort music, most probably for teaching purposes.

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Barbiani, C., F. Guerra, T. Pasini, and M. Visonà. "REPRESENTING WITH LIGHT. VIDEO PROJECTION MAPPING FOR CULTURAL HERITAGE." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2 (May 30, 2018): 77–81. http://dx.doi.org/10.5194/isprs-archives-xlii-2-77-2018.

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In this paper, we describe a cross-disciplinary process that uses photogrammetric surveys as a precise basis for video projection mapping techniques. Beginning with a solid basis that uses geoinformatics technologies, such as laser scanning and photogrammetric survey, the method sets, as a first step, the physical and geometrical acquisition of the object. Precision and accuracy are the basics that allow the analysis of the artwork, both at a small or large scale, to evaluate details and correspondences. Testing contents at different scales of the object, using 3D printed replicas or real architectures is the second step of the investigation.<br>The core of the process is the use of equations of collinearity into an interactive system such as Max&amp;thinsp;7, a visual programming language for music and multimedia, in order to facilitate operators to have a fast image correction, directly inside the interactive software. Interactivity gives also the opportunity to easily configure a set of actions to let the spectators to directly change and control the animation content. The paper goes through the different phases of the research, analysing the results and the progress through a series of events on real architecture and experiments on 3d printed models to test the level of involvement of the audience and the flexibility of the system in terms of content.<br>The idea of using the collinearity equation inside da software Max&amp;thinsp;7 was developed for the M.Arch final Thesis by Massimo Visonà and Tommaso Pasini of the University of Venice (IUAV) in collaboration with the Digital Exhibit Postgraduate Master Course (MDE Iuav).

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Belova, N. V., and O. M. Yakymchuk. "Three piano pieces of Liudmila Shukailo in the context of genre paradigm." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 57, no. 57 (2020): 61–76. http://dx.doi.org/10.34064/khnum1-57.04.

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Introduction. By Nazaikynskyi’s (2003) definition, genres are “relatively stable types, classes, kinds and sorts of music works that have been formed historically; they could be сlassified according to the following basic criteria: a) specific function (social, domestic or artistic); b) conditions and means of performing; c) the character of the content and the forms of its embodiment” (94). Besides, genre has a memory concerning its origin and existence, it absorbs whole traditions of realisation of genre types that existed during certain historical periods. In such a way it forms the field of meaning around genre concept itself. We have chosen three pieces of L. Shukailo for our analysis. They have been written in Scherzo, Toccata and Rhapsody genres, tightly linked with different historical traditions, and also with the works of the greatest composers. That’s why we concider the analysis of Shukailo’s music in the context of genre tradition as an interesting and fertile perspective. Theoretical Background. There are no studies, dedicated to L. Shukailo’s works nowadays. So, this one has inevitably been a pioneering work in the sphere. At the same time, a considerable amount of literature is available about different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano different explanations of the conception of genre. Notwithstanding these multiple treatises, we prefer to base our research on Nazaikynskyi’s genre definition. The latest studies, concerning the specificity of some music genres also serve for us as valuable sources of information. These are: the thesis and the papers of E. Belash, where Scherzo is characterized as a genre; the thesis of T. Prodma and O. Bondarenko about Toccata; the article of G. Bazyken, dedicated to Rhapsody genre. The objective of the article is to identify the characteristic features of L. Shukailo’s piano pieces (“Scherzo” (1992), “Toccata-Campana” (1994), and “Rhapsody” (1996)) in the context of the genre paradigm and also – to reveal the specific nature of “the image of the genre” in the composer’s music. Methods. The article explores three concert pieces for piano by contemporary Ukrainian composer L. Shukailo in the context of the genre paradigm. The general genre specificity of the works conerning “the image of the genre”, as well as the characteristic style traits of L. Shukailo’s music, has been revealed. The peculiarities of the texture of each of the pieces regarding the “piano image” are analyzed. The reasons why L. Shukaylo’s works in the genres of Scherzo, Toccata and Rhapsody have been selected for analysis are: their connection with the broad historical context, European and national piano tradition, abundant allusions to the music of the predecessors. The expressions “the image of the piano” and “the image of the genre” need some additional explanation. The concept “the image of the piano” had been used for the first time by L. Gakkel in his book “The 20th Century Piano Music” (1990). Then it was further developed by other scholars (for instance, by E. Belash (2015). It means the specificity and the timbre of the instrument that is an integral part of the stylistic complex of the piece of music, created by a composer and represented by a performer. We are convinced that the images of the genres emerged simultaneously with the image of the piano, especially if these genres had a marked piano specificity. It can be fully applied to Scherzo and Toccata genres, and partly – to Rhapsody. The image of the genre is tightly linked to the image of the piano when it сomes to piano music. Results and Discussion. Scherzo is the most versatile genre among others because of its wide range of expressive opportunities. Thus, E. Belash considers Scherzo as a genre, related to the image of the piano, and also to the conception of virtuosity. She assumes that the desire to demonstrate mastery of the piano technique is inherent in the nature of the genre. Quick tempo, passages, shifting of the sounds from one extreme register to another – all these virtuoso techniques of playing are characteristic of the piano Scherzo. Almost the entire arsenal of virtuoso techniques could be found in L. Shukailo’s “Scherzo”. The piece has a traditional, historically-formed, threepart recurring structure, where the contrast is not on the verge of the parts but in the very process of music development. The great potential of the instrument unfolds itself in the Scherzo. Almost the whole diapason of the piano is covered. The composer uses melodious interweaving as well as the “bell” of chords. The instrument reveals both hammering and singing nature of its sound. L. Shukailo employs rather chamber and playful type of Scherzo, characteristic of Chopin, than concert and symphonic one, typical of Liszt. Although the name of L. Shukailo’s piece is of a genre-generalizing character, the Scherzo has a striking imagery. On creating this music, the author might have been referring to some concrete content or image, but it seems she rather gave the audience complete freedom to interpret the music. The Toccata genre tightly relates to the Scherzo genre. Both genres are based on the principles of the Etude, that is, on the same vigorous movement. It is combined with hammering key-touch in Toccata. The unique feature of the “Toccata-Campana” is that, in addition to all conventional traits of the genre such as hammering key-touch, the way of the unfolding of musical material, and virtuosity, the imitation of the bell takes place here. The name of the piece itself tells us about it. The Italian word “Campana” stands for “the bell”. In its turn, it reminds the listeners of “Campanella”, the piece where the sound of the bells is imitated. The idea of the piano as of a percussion is realized in the piece in a very interesting way. It alludes to the percussion of another kind – the sound of the bell. Naturally the sound of the piano and that of the bells are different, but the piano here not only imitates the timbre of another instrument but it expresses those strong emotions the sound of bells usually evokes. Unlike the previous two genres, the Rhapsody genre is associated not with vigorous movement, typical for the Etude, but with folk music and singing. As a rule, quotations of folk music or its stylization have been used in Rhapsody. It usually consists of several contrasting episodes. Rhapsody, with its narrative character, is a detailed story, told by the singerrhapsod. We can see that the idea of instrumental mastery, virtuosity is also characteristic of this genre. Rhapsody is based on the folk songs. L. Shukayilo’s “Rhapsody” has folk components, too, but its genre affiliation can be defined rather as that of a dance. Characteristic repetitions of the same sound are associated with the percussion instrument that accompanies oriental dance. These three concert pieces for piano were created especially for V. Krainev contest. On the one hand, L. Shukailo continues the traditions of piano music, and on the other – creates its own, recognizable piano style, characterized by deep insight into the specificity of the instrument. Obviously, this explains in a great measure the repeated appeals of the organizers of the music contests to the composer for writing the pieces especially for the contests. Conclusions.The analysis of the three L. Shukailo&#700;s piano works, made in the article, enables us to do the following conclusions: – the pieces analyzed entirely correspond to their genre specificity that has been marked by the composer in the titles; – each of the genres has been interpreted in specific way that tells us of the author’s ingenious view of the genre; thus, in the “Scherzo” the idea of playing is embodied as a symbol of virtuosity; imitation of bell sound has been used in the “Toccata-Campana” with the purpose of emphasizing of the strike effect; and the “Rhapsody” has absorbed a lot of oriental folk dance style; – creating the sound image of piano, the composer in the same time also creates the sound image of genre in all the pieces analyzed.

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Calhoon, Kenneth. "Of Non-vital Interest: Art, Mimicry, and the Phenomenon of Life." Konturen 6 (September 16, 2014): 82. http://dx.doi.org/10.5399/uo/konturen.7.0.3503.

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My aim in this essay is to explore certain parallels—concerning anthropomorphism—in the work of Roger Caillois, Hans Jonas, Theodor Adorno and Sigmund Freud. Both Caillois (a thinker closely connected to French Surrealism and an important source for Jacques Lacan) and Jonas (philosopher and one-time student of Heidegger) take issue with the ban on anthropomorphism—an anathema that is the legacy of Western science. Part of the thesis in Jonas’ major work, The Phenomenon of Life, is that freedom is not exclusively a human quality but a potential within the simplest organic forms, even within inorganic matter. Anthropomorphism may be the legacy of a primitive stage in human development in which the whole of creation was endowed with a soul, but this attitude, Jonas argues, is the more natural one. Whereas in the early phases of humanity death was the stranger in a world that was fundamentally alive, modern thinking made life the riddle within a world of neutral matter and mechanistic principles. Freud’s own theory of the death-drive (“an urge inherent in organic life to restore an earlier state of things which the living entity has been obliged to abandon under the pressure of external disturbing forces”) seems quite consistent with the primacy of death over life instituted by modern thought. I have a general interest in comparing Freud’s theory of the death drive, the aim of which is the restoration of an original equilibrium, with music, whose traditional structure (via the cadence) is to relieve tonal tension through a restoration of the keynote (Grundton). This bears upon the problem of anthropomorphism in that “classical” music since the seventeenth century has cast expression in terms of simulated human emotions: we hear music and perceive love, longing or fear, not to mention (in the case of pastorale) the “cheer” of birdsong or the “rage” of a thunderstorm. Adorno’s critique of this tradition, in which true expression is replaced by mere images of expression, theorizes what he calls a “tendency of the material,” extolling the composer whose sheer mastery of technique enables the material to go where it “wants” to go. What Adorno means by “material” is not merely the inventory of sounds available to the musician but the historical experience sedimented within musical convention. Nonetheless, I would like to attempt an argument whose parameters are Adorno’s “tendency of the material” and Jonas’ idea that freedom must be conceived as a “genuine potency” within physical substance.

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Brand, Manny. "Master music Teachers." Music Educators Journal 77, no. 2 (1990): 22–25. http://dx.doi.org/10.2307/3397811.

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Dissertations / Theses on the topic "Master of Music Thesis"

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Thurston, Donna. "Irish music in Wellington : a study of a local music community : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2010. http://hdl.handle.net/10063/1258.

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Corby, Megan. "Music performance anxiety in adolescent student singers : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Music [in Performance]." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1112.

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This project seeks to sidestep the debilitating effects of music performance anxiety by cross-referencing knowledge from the areas of adolescent psychology with literature on MPA in singers in general in order to target adolescent singers early in their training. As well as considering the causes, symptoms and treatment of music performance anxiety, the project examines the role of the natural anxieties of adolescence in triggering music performance anxiety and seeks to chart a way through. Its intended readership is the classical singing teacher.

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Dalton, Fiona Margaret Page. "Transforming Dalit identity : ancient drum beat, new song : a thesis submitted to the Victoria University of Wellington in partilal fulfilment of the requirements for the degree of Master of Development Studies /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/329.

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Smith, Andy. "Pat Metheny: Composing to Exploit the Sound of the Guitar : a thesis submitted to the New Zealand School of Music [in partial fulfilment of the requirements for the degree of Master of Music]." New Zealand School of Music, 2007. http://hdl.handle.net/10179/1113.

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The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influence in his improvisation and composition is remarked on. There is scope for further work based on a wider sampling, and the methodology used in this study could probably be modified to focus on this objective.

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Wong, Chit Yu. "How can a music therapy student facilitate contributions by adolescent clients who have psychiatric disorders in group music therapy? : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music Therapy at New Zealand School of Music, Wellington, New Zealand." Massey University, 2009. http://hdl.handle.net/10179/1093.

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This study explored ways in which a music therapy student could modify and improve her own clinical practice in order to facilitate client contribution in group music therapy in an acute adolescent inpatient unit. Through cycles of observation, evaluation, planning, and action, the music therapy student was able to examine her facilitation techniques in detail and modified them accordingly. There were six fortnightly cycles and in each cycle, the research journal, research notes, and video-recording were systematically reviewed by the music therapy student herself, and themes were drawn out to contribute to the planning of the next cycle. The results suggested that while direct questions predominated at the start of study, the music therapy student was able to adopt a variety of other techniques by the end of the research period, including self-disclosure, appropriate eye contact, and the shifting of responsibility. The music therapy student also found that her own anxiety level, which was often caused by periods of silence in music groups, also had an important impact on her ability to facilitate. The discussion addressed other factors that are believed to have contributed to the student?s ability to facilitate in group music therapy.

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Robb, Hamish James Alexander. "Organicism, motivic parallelism, and performance in Beethoven's piano sonata op. 2 no. 3 : a thesis submitted to the New Zealand School of Music in fulfilment of the requirements for the degree of Master of Music in Musicology /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/944.

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Wong, Chit Yu. "How can a music therapy student facilitate contributions by adolescent clients who have psychiatric disorders in group music therapy? : a thesis submitted to the New Zealand School of Music, Wellington, New Zealand, in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive e-thesis, 2009. http://hdl.handle.net/10063/1003.

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Chiang, Jenny Yu Kuan. "Music therapy for young children who have special needs : the music therapy experience from the perspectives of carers and professionals : a thesis submitted to the New Zealand School of Music, Wellington, New Zealand, in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/1046.

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Lile, Trudy. "Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand." New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.

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This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.

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Smith, Felicity. "The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.

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Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).

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Books on the topic "Master of Music Thesis"

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Himeda, Marla Gering. Master of music. Carlton Press, 1992.

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Gissing, Vera. The music master. Beehive, 1987.

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Library, Laban. Thesis list: A subject list of Master of Arts dissertations and higher degree thesis. Laban Centre for Movement and Dance, 1993.

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Library, Laban. Thesis list: A subject list of Master of Arts dissertations and higher degree thesis. Laban Centre for Movement and Dance, 1994.

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Laban Centre London. Library and Archives. Thesis list: A subject list of master of arts dissertations and higher degree thesis. Laban Centre london, 1998.

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Lowe, Leslie. Master Music directory of popular music. 3rd ed. Waterlow,1992., 1992.

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Fowler, William L. How to master music. W.L. Fowler, 1993.

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Boyd, Malcolm. Domenico Scarlatti--master of music. Weidenfeld and Nicolson, 1986.

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Domenico Scarlatti--master of music. Weidenfeld and Nicolson, 1986.

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Music is the master key. Rivercross Pub., 2000.

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Book chapters on the topic "Master of Music Thesis"

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Semeijn, Judith H., Janjaap Semeijn, and Kees J. Gelderman. "Master Thesis Supervision." In Real Learning Opportunities at Business School and Beyond. Springer Netherlands, 2009. http://dx.doi.org/10.1007/978-90-481-2973-7_14.

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Mynett, Mark. "Master Buss Processing." In Metal Music Manual. Routledge, 2017. http://dx.doi.org/10.4324/9781315750071-16.

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Kibler, Maurice. "The Master thesis of Moshé Flato." In Conférence Moshé Flato 1999. Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-015-1276-3_13.

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Jackson, Brian M. "Master Your Craft." In The Music Producer’s Survival Guide. Routledge, 2018. http://dx.doi.org/10.4324/9781315519777-5.

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Girish, Meenakshi, and Senthil Amudhan. "Preparing and Decoding the Master Chart." In Thesis Writing for Master's and Ph.D. Program. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0890-1_10.

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Parija, Subhash Chandra, Noyal Mariya Joseph, and Madhuri Parija. "Dissertation Writing for Master of Science Course." In Thesis Writing for Master's and Ph.D. Program. Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0890-1_24.

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Yung, Bell. "From humble beginnings to qin master." In Routledge Handbook of Asian Music: Cultural Intersections. Routledge, 2021. http://dx.doi.org/10.4324/9781003142720-5.

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Lopukhova, Julia, and Elena Makeeva. "Evaluation of International Master Thesis in the Program “Entrepreneurs for Tomorrow”." In Advances in Intelligent Systems and Computing. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73204-6_23.

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Glomb, Herbert J. "Multi-Media am POS: Der Karstadt Music Master." In Multi-Media und Marketing. Gabler Verlag, 1995. http://dx.doi.org/10.1007/978-3-322-83586-4_18.

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Paakki, Jukka. "Champion of Sauna, Master of Music and Sports." In Arto Salomaa: Mathematician, Computer Scientist, and Teacher. Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-16049-4_14.

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Conference papers on the topic "Master of Music Thesis"

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November, Nancy. "Teaching Music Historical Literacy Using Video Clips." In Fifth International Conference on Higher Education Advances. Universitat Politècnica València, 2019. http://dx.doi.org/10.4995/head19.2019.9395.

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Four professionally-created, student-presented, three- to five-minute videos were integrated into two undergraduate music history courses at the University of Auckland, to support the development of key historical literacy skills. These include crucial skills and understandings that music students need to master in their first two years: identifying different kinds of music scores; understanding the difference between primary and secondary sources for music historical topics; finding one’s way around critical, “complete works” editions of music; and finding and assessing music-related literature on the Internet. The intervention led to marked improvements in student learning in each of the four areas.

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.

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Schmid, Jan. "Master thesis students in the video game industry." In SIGGRAPH ASIA 2015 R&D in the Video Game Industry. ACM Press, 2015. http://dx.doi.org/10.1145/2818419.2818421.

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Hincu, Ionela. "Musical-interpretative skills and their role in teacher music education training." In Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p274-277.

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This article reflects the professional and moral values of the Music Education teacher: abilities, skills, aptitudes, organisational skills, and abilities, etc. that have a special place in the formation of pedagogical mastery. Performing activity reinforces the teacher’s authority as a propagandist musician of all that is best, transforming him or her into a genuine teacher of the 21st century. Thus, in the training of the Music Education teacher, the mutual relationship between the vocal, instrumental, vocal-instrumental performance and musical-theoretical knowledge is of great importance.

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Perez-Cabañero, Carmen, Luisa Andreu, and Enrique Bigné. "BLENDED TUTORING OF HIGHER EDUCATION STUDENTS DEVELOPING THEIR MASTER THESIS." In 15th International Technology, Education and Development Conference. IATED, 2021. http://dx.doi.org/10.21125/inted.2021.1929.

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Hasyim, Nur, Ade Sukma Mulya, Abdillah, and Darul Nurjanah. "Model of Applied Master Thesis Research Method Writing based on Genre." In Annual Southeast Asian International Seminar. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0009869700140017.

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Nikina-Ruohonen, Anna, and Sanna Heiniö. "RE-IMAGINING STUDENTS’ MASTER THESIS GUIDANCE IN THE VIRTUAL LEARNING ENVIRONMENT." In 15th International Technology, Education and Development Conference. IATED, 2021. http://dx.doi.org/10.21125/inted.2021.2025.

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Martens, Bob. "Master Thesis Work in Real Estate Education: Status Update towards Open Access." In 25th Annual European Real Estate Society Conference. European Real Estate Society, 2016. http://dx.doi.org/10.15396/eres2016_31.

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Huynh, Thi Thanh Binh, Quang Dung Pham, and Duy Dat Pham. "Genetic Algorithm for Solving the Master Thesis Timetabling Problem with Multiple Objectives." In 2012 Conference on Technologies and Applications of Artificial Intelligence (TAAI). IEEE, 2012. http://dx.doi.org/10.1109/taai.2012.50.

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Feldt, Robert, Martin Höst, and Frank Lüders. "Generic Skills in Software Engineering Master Thesis Projects: Towards Rubric-Based Evaluation." In 2009 22nd Conference on Software Engineering Education and Training. IEEE, 2009. http://dx.doi.org/10.1109/cseet.2009.54.

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Reports on the topic "Master of Music Thesis"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, 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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Dettmers, Dana Lee, and Steven Arvid Eide. Constructing Predictive Estimates for Worker Exposure to Radioactivity During Decommissioning: Analysis of Completed Decommissioning Projects - Master Thesis. Office of Scientific and Technical Information (OSTI), 2002. http://dx.doi.org/10.2172/910655.

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Niebler, Rebecca. Abfallwirtschaftliche Geschäftsmodelle für Textilien in der Circular Economy. Sonderforschungsgruppe Institutionenanalyse, 2020. http://dx.doi.org/10.46850/sofia.9783941627833.

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This master thesis explores the challenges for waste management business models in the field of textiles regarding the requirements of the circular economy, as well as improvement potentials in the current framework conditions. It is concerned with the research question: "Is it advisable to change the frame-work conditions at meso or macro level, with regard to business models for waste management companies in the textile sector that are oriented towards the requirements of the circular economy, and - if so - in what way?” The approach of the study is based on the delta analysis of the e Society for Institutional Analysis at the Darmstadt University of Applied Sciences. It compares the target state of the normative requirements with the actual state of the textile and waste management framework conditions and attempts to identify the gaps (the delta). Based on the delta, it develops approaches that are intended to help reduce the gaps. The thesis develops three business models for the target year 2025 in different areas: an exchange platform for sorters, recyclers and designers, an automatic sorting plant and a plant for fibre-to-fibre recycling of mixed materials. It is becoming clear that these business models cannot meet the target requirements for the circular economy. The analysis identifies the remaining gaps in the framework conditions as the main problem. For example, insufficient innovation impulses and the lack of competitiveness of secondary raw materials inhibit the actors from applying and using new technologies and business models. Restricted access to knowledge and information, as well as a lack of transparency between the actors, also prove to be problematic. In order to answer the research question, the study recommends altering the framework conditions at meso and macro level. It proposes a platform for cooperation between designers, the introduction of a material declaration system and an eco-design guideline for textiles as possible development options. In addition, this work offers a matrix of criteria to help the actors test and improve their new waste management business models regarding their suitability for the circular economy. The analysis is carried out from an outsider's perspective on the entire textile industry. It therefore cannot cover and deal with all aspects and individual circumstances of each player in detail. The necessary changes in the framework conditions that have been identified can therefore be used as a basis for further investigations.

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Winkler-Portmann, Simon. Umsetzung einer wirksamen Compliance in globalen Lieferketten am Beispiel der Anforderungen aus der europäischen Chemikalien-Regulierung an die Automobilindustrie. Sonderforschungsgruppe Institutionenanalyse, 2020. http://dx.doi.org/10.46850/sofia.9783941627796.

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This publication based on a master thesis explores the challenges of the automotive industry regarding the European chemical regulations REACH and CLP, as well as potential improvements of the current compliance activities and the related incentives and barriers. It answers the research question: "To what extent should the compliance activities of actors in the automotive supply chain be extended in order to meet the requirements of European chemicals regulation; and where would it help to strengthen incentives in enforcement and the legal framework?“. The study’s structure is based on the transdisciplinary delta analysis of the Society for Institutional Analysis at the Darmstadt University of Applied Sciences. It compares the target state of the legal requirements and the requirements for corresponding compliance with the actual state of the actual compliance measures of the automotive players and attempts to identify their weak points (the delta). The main sources for the analysis are the legal texts and relevant court decisions as well as guideline-based expert interviews with automotive players based on Gläser & Laudel. As objects of the analysis, there are in addition answers to random enquiries according to Article 33 (2) REACH as well as the recommendations and guidelines of the industry associations. The analysis identifies the transmission of material information in the supply chain as a key problem. The global database system used for this purpose, the IMDS, shows gaps in the framework conditions. This results in compliance risk due to the dynamically developing regulation. In addition, the study identifies an incompliance of the investigated automobile manufacturers with regard to Art. 33 REACH. In answering the research question, the study recommends solutions to the automotive players that extend the current compliance activities. In addition, it offers tables and process flow diagrams, which structure the duties and required compliance measures and may serve as basic audit criteria. The analysis is carried out from an external perspective and looks at the entire industry. It therefore cannot cover all the individual peculiarities of each automotive player. As a result, the identified gaps serve only as indications for possible further compliance risks.

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