Dissertations / Theses: 'Modern music education'

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Dennis, Robb. "Multiple Intelligence Theory and its Application in Modern Vocal Pedagogy." Scholarship @ Claremont, 1998. http://scholarship.claremont.edu/cgu_etd/99.

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In 1983, Howard Gardner shook the foundations of intelligence testing and the field of education by suggesting that there are seven distinct intelligences. These intelligences had testable and distinct attributes that were supported by his research at the Boston Veterans Administration. This research cited the existence of savants and prodigies, isolation by brain damage, and psychometric findings as support for Multiple Intelligence Theory. Widely accepted by the education community at large, the application of MI principles has been further elaborated in the writings of Thomas Armstrong and David Lazear. Can the principles of Multiple Intelligence Theory be applied in the area of modern vocal pedagogy? After surveys of the foundations of vocal pedagogy and the principles ofMI theory, the author suggests they can. What follows is an analysis of two current vocal pedagogy texts, Van Clu·isty's Foundations in Singing and Jan Sclunidt's Basics of Singing to determine the variety and use ofMI principles in each. After the analysis, the author suggests applications of MI principles, using aspects of their song learning chapters as a template that can be adapted to any vocal pedagogy text.

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Sieg, Morgan E. "Changing Tensions: The Use of Percussion in the Modern Dance Pedagogy of Franziska Boas." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587732772039277.

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Hwang, Shine S. "An Investigation of Intrinsic and Extrinsic Motivations in Middle School Modern Band and Advanced Choir." Thesis, California State University, Long Beach, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10978100.

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The purpose of the study was to investigate intrinsic and extrinsic motivational factors that influence middle school students’ enrollment decisions in either alternative (Modern Band) or traditional (Advanced Choir) music ensembles, as well as to explore external influences (peers, parents/family members, and the music teacher) on students’ performance and learning skills. The data revealed that common intrinsic motivators described by students from both ensembles included interest in music, developing playing/singing skills and improving performance skills, emotions toward performing, desire of career and personal enjoyment, and self-encouragement.

The participants included two eighth-grade students enrolled in Modern Band and two eighth-grade students from Advanced Choir, and both ensembles were taught by the same teacher in the same school in an urban area on the West Coast. The results indicate whether the motivations were internal or external, different levels of impact were seen on each student regarding decision-making, learning process, and performance skills.

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Ni, Yuan. "The Modern Erhu: Perspectives on Education, Gender, and Society in the Development of Erhu Performance." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1623253987334659.

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Davis, John Edward 1954. "The extended alto flute: The history and development of the alto flute, with a study of modern alto flute design and its effect on extended techniques in alto flute repertoire and pedagogical materials." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288758.

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The purpose of this document is to trace the origin of the modern alto flute from its beginning through Theobald Boehm's design, compare the designs and acoustical qualities of modern alto and c-flutes; identify the various types of extended techniques found in contemporary alto and c-flute repertoire with attention as to how the realizion of these techniques may differ for alto and c-flute; and survey representative works for alto flute that incorporate extended techniques. Chapter I follows the development of larger flutes from examples found in Renaissance-period sources up to the early nineteenth century. Chapters II and III discuss Boehm's design innovations, identify specific parts of alto flute design that distinguish it from the c-flute, in in aspects such as air column diameter and volume, tone hole location and diameter, and head joint design. Chapters IV through VII investigate the origins of extended techniques on alto and c-flute and include explanation of various monophonic, microtonal and multiphonic techniques, and identify differences between alto and c-flute responses in these areas. Chapter VIII examines representative solo and chamber works for alto flute that incorporate extended techniques, with descriptions of the techniques and a grading system that rates these works on their level of extended technique difficulty. Three appendices are included: Appendix A is a quarter-tone fingering chart for the alto flute; Appendix B is a listing of alto flute multiphonic fingerings: Appendix C is a listing of descriptive notes for the multiphonics in Appendix B.

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Nkosi, A. D. "Modern African classical drumming : a potential instrumental option for South African school Music curriculum." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/43292.

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The Curriculum and Assessment Policy Statement or CAPS (which is the modified extension of the National Curriculum Statement policy), Music learning area, gives an option for Music learners to follow the Indigenous African Music (IAM) stream. This caters for them to be examined in African instruments. Currently, there are no available prescribed instrumental curricula in any IAM instrumental practices that learners can follow should they choose the IAM stream. Therefore, this research was prompted by the need for graded curriculum in IAM instruments for Music learners at the Further Education and Training (FET) level. This quantitative research focuses on the incorporation of contemporary African instrumental music practices in the modern Music curriculum as demanded by current trends, multiculturalism and multi‐ethnic societies with their emerging modern culture which to an extent nevertheless still embrace old traditions. The research is underpinned by the theoretical framework of multicultural music education. This study comprises two sections. Section one analyzes the dilemma that the South African Music curriculum faces when incorporating indigenous African instruments for examination at FET level and poses questions on how and which instrumental practices can be part of the possible solution. It revisits the epistemology of traditional African drumming and investigates how some of the traditional drumming practices have changed and are practised in the contemporary context. Section two introduces a contemporary African instrumental practice whose development is rooted in the generic traditional idioms of African drumming. This contemporary drumming style is not tied to a specific ethnic group but rather a creative continuum of African traditional drumming. This practice is explored as a potential instrumental option for the South African Music curriculum (IAM stream); through conducting of training workshops, progress survey and the evaluation of the implementation process of the pilot graded model curriculum. Lastly, pedagogical instructions on teaching, learning and evaluation of this contemporary drumming practice are provided.
Thesis (DMus)--University of Pretoria, 2013.
lk2014
Music
DMus
Unrestricted

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Sellers, Crystal Yvonne. ""I Sing Because I‘m Free": Developing a Systematic Vocal Pedagogy for the Modern Gospel Singer." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1249920108.

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Morrison, Becky L. "The chest voice function in the classically trained soprano| A survey of selected vocal pedagogy treatises from the seventeenth century through the twentieth century and recording analysis from 1900 to the present with discussion of the implications for the modern vocal pedagogue." Thesis, The University of Oklahoma, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3590374.

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The purpose of this research is to document the use of chest voice in sound recordings of sopranos from the early 1900s through the twentieth century and to survey the vocal pedagogy informing performance practice of chest voice throughout the twentieth century. The research includes a survey of the chest voice in vocal pedagogy treatises from the seventeenth century through the twentieth century, and the performance practice of singers throughout the twentieth century in regard to the use of chest voice. The research also includes recording practices as they pertain to the different time periods of sound recordings used in this study. Three singers from each recording era are documented in regard to their rise to fame, voice teachers, training, use of chest voice in recordings, and approach to singing. Three arias will be used to trace the use of chest voice throughout the different eras of recorded history to document changes in style and approach to chest voice singing. The arias are "Una voce poco fa" from Rossini's Il Barbiere di Siviglia , "Salce, Salce" from Verdi's Otello, and "Air des bijoux" (The Jewel Song) from Gounod's Faust. The views about the use of chest voice over the past four hundred years inform the modern vocal pedagogue in regard to the changes in methodology, ideology, and practice due to the advances in vocal science and technology used to explore the voice and its function. However, until the beginning of sound recording the only form of documented historical performance lay in the opinions of critics and those who wrote about the performers of their day. In the research of this document the archival recordings provide the impetus for comparing vocal pedagogy instruction with performance practice in the use of chest voice.

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Clark, Adam. "“Modern Marvels:” A Pedagogical Guide to Lowell Liebermann’s Album for the Young, Op. 43." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1212086531.

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Lewis, Joseph M. Jr. "The Development of Civil War Brass Band Instruments into Modern-Day Brass Band Instruments with a Related Teaching Unit For a High School General Music Course." Bowling Green State University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1431035985.

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Wood, Samantha (Soprano). "Distance Learning in Singing Education: An Overview of Historical and Modern Approaches and Future Trends." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505254/.

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This research of distance learning in singing study provides some historical framework of long-distance singing study, including research on three former distance singing courses, which exemplify the "best practices" of their time: Siegel-Myers Correspondence School of Music, the Perfect Voice Institute, and the Hermann Klein Phono-Vocal Method: Based Upon the Famous School of Manuel Garcia. I also discuss current trends in long-distance singing study, including interviews and insights from current long-distance singing teachers using cutting edge technology in their virtual studios. Lastly, I make predictions and projections, based on analyses of past "best practices," where this information may have impact upon future methods of distance singing lessons, including conceivable distance singing course components of online degree programs offered at universities.

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Poritsky, Marc I. "Cleveland and Northeast Ohio's Overlooked Historical Contributions to Underground, Punk, and Alternative Music." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1401293444.

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Campelo, André. "SINGING PORTUGUESE NASAL VOWELS: PRACTICAL STRATEGIES FOR MANAGING NASALITY IN BRAZILIAN ART SONGS." UKnowledge, 2017. http://uknowledge.uky.edu/music_etds/89.

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The articulation of Portuguese nasalized vowels poses some articulatory problems accompanied by negative acoustic effects for the performance of Brazilian art songs. The main objective was to find strategies that permit the singer to conciliate an idiomatic pronunciation of these vowels with a well-balanced resonance, a desirable quality in classical singing. In order to devise these strategies, the author examined sources dealing with nasalized vowels from varied perspectives: acoustic properties of vowel nasalization, phonetic and phonological aspects ofBrazilian Portuguese (BP), historical views on nasality in singing, and recent vocal pedagogy research. In addition to the overall loss of sonority, the main effect of nasalization is felt mainly in the first formant (F1) region of oral vowels, due to the introduction of nasal formants and antiformants, and to shifts in the tongue posture. Several sources report the existence of a nasality contour in BP, by which a nasalized vowel starts with an oral phase and transitions gradually to a nasal phase. The author concludes that the basic approach to sing nasalized vowels in BP is (1) to find the tongue posture corresponding to the oral vowel congener (the “core vowel”), and (2) to adjust the nasality contour in such a way that the oral portion remains prominent in order to keep the resonance balance consistent during the emission of the vowel. Once the core vowel is determined, standard vowel modification choices can be made according to voice type and the musical context in which the vowel is being sung. Some challenging excerpts from Brazilian art songs are examined, with suggestions for the application of the discussed strategies.

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Cassidy, Timothy John. "Modern a cappella-pop and showchoir methods for the classically trained music educator." Kansas State University, 2013. http://hdl.handle.net/2097/15629.

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Master of Music
Department of Music
Julie Yu
University choral music education programs commonly focus on training music educators in the Western Classical tradition, however, the evolving landscape of popular music requires an additional set of skills and experiences that are not a part of the standard curriculum. A cappella groups with vocal percussion and show choirs are increasing in demand due to the popularity of modern vocal music entertainment with television shows such as “Glee” and “The Sing-off” and performing groups such as “Pentatonix” and “Straight No Chaser.” With limited available literature and training, current and future musical educators face the problem of having to acquire these skills on their own. While ensembles dedicated to singing popular music are nothing new, the technical aspects of developing an ensemble that meets the high performance expectations of modern audiences can be intimidating. This report intends to cover the requisite techniques, skills, and resources that modern a cappella pop choirs and show choirs utilize to be successful. The report covers these topics: 1) a brief survey of the historical origins of choral vocal pop and show choir ensembles 2) defining the purpose, intent, and nature of such ensembles 3) show choirs, pop a cappella choirs, and hybrids 4) roles, responsibilities, and personnel assignment 5) music selection, arrangement, and programming 6) the decision to perform live, with a pre-recorded track, or a combination 7) use of audio and recording equipment in performance 8) rehearsal techniques 9) artistic and stylistic decisions

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Freeman, Cole. "Educating American Audiences: Claire Reis and the Development of Modern Music Institutions, 1912-1930." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc500034/.

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The creation of institutions devoted to promoting and supporting modern music in the United States during the 1920s made it possible for American composers to develop an identity distinct from that of European modernists. These institutions were thus a critical part of the process of modernization that began in the United States during the early decades of the twentieth century. There is substantial scholarship on these musical institutions of modern music, such as the International Composers’ Guild and the League of Composers; but little to no work has been done on the progressive musical institutions of the 1910s, such as the Music League of the People’s Music Institute of New York, which was founded by Claire Reis. This thesis addresses the questions of how and why American musical modernism came to be as it was in the 1920s through an examination of the various stages of Reis’s career. The first chapter is an extensive study of primary source material gathered from the League of Composers/ISCM Records collection at the New York Public Library, which relates to Reis’s work with the PML in the 1910s. The second chapter uses the conclusions of the first chapter to shine new light on an old subject: the 1923 schism within the ICG that led Reis and others to form the League. The traditional view that the schism was the result of a conflict in idea of style is called into question, and the role that gender and power structure played in the break are explored.

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Moreira, Tamya de Oliveira Ramos. "A música na Pedagogia Freinet: diálogos com a educação musical do século XX." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-20012015-153959/.

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Esta dissertação procura apresentar o estudo dos conceitos pedagógicos desenvolvidos por Célestin Freinet em seu Movimento Escola Moderna, de maneira a observar suas possíveis implicações no campo do ensino musical. A pesquisa se inicia com um estudo aprofundado das técnicas freinetianas e suas fundamentações para, a partir desta proposta pedagógica que se destina à escola como um todo, tomar como foco a reflexão sobre a prática em educação musical. Em um segundo momento, apresenta-se um estudo crítico comparativo com algumas propostas de educação musical difundidas no século XX. Os autores selecionados para esta etapa foram Carl Orff, John Paynter, François Delalande e H. J. Koellreutter. Buscou-se relacioná-los à prática e ao pensamento norteador na área de música no Movimento Escola Moderna. Por fim, foram analisados arquivos do Instituto Cooperativo Escola Moderna, com vistas a compreender as relações entre os conceitos forjados por Célestin Freinet e as práticas e os debates acerca de educação musical entre educadores do referido movimento.
This work intends to present a study of pedagogical concepts developed by Célestin Freinet within his Modern School Movement, in order to observe its possible relations with the music education area. The work begins with a deep study of freinetian techniques and its foundations in order to support a reflection about the music education practice from the perspective of a broader pedagogical thought. Secondly, a critical comparative study with some twentieth-century proposals in music education is presented. The selected authors for this section were Carl Orff, John Paynter, François Delalande and H. J. Koellreutter, which were related to the Modern School Movement\'s practices and thoughts. Finally, it is presented an analysis of documents from ICEM, in order to understand the relations between Freinet\'s concepts and the practices and debates about music education among the movement\'s educators.

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Malm, Annica. "Somebody’s gotta wear a pretty skirt : Constructions of masculinity and femininity in modern country music." Thesis, Högskolan Väst, Avd för utbildningsvetenskap och språk, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-10541.

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Constructions of masculinity and femininity can be reinforced through written and spoken language, creating stereotypes and inequality between genders. Gender representations in music lyrics have been studied for various genres, but the country music genre has been somewhat underrepresented. Considering the fact that country is seen as the authentic music genre and culture of the US, it is relevant to study how gender is represented in relation to society. The aim of this study is to investigate how masculinity and femininity is represented in 15 modern country songs from the last decade retrieved from Billboard.com. The hypothesis for this study is that modern country music should have a less stereotypical view on men and women than older country music. Critical Discourse Analysis has been used to analyse the lyrics, and metaphors, similes and verbs have been analysed in order to reach the aim. The country music culture has been the framework to interpret the results, as well as the view of femininity and masculinity as social constructions. The findings point to more exaggerated versions of masculinity and more stereotypical depictions of femininity being represented in the lyrics than older research made about country music and gender. Masculinity and femininity are depicted as opposites with clear boundaries set between them. The modern lyrics express a desire to claim authenticity through conservative and stereotypical representations of men and women, using metaphors and verbs that enforces certain norms and assumptions about femininity and masculinity.

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Hinkley, Sandy Purdum. "Effects of Vibrato and Pitch-Varied Vocal Models on High School and Undergraduate Singers' Intonation, Intensity, and Use of Vibrato." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261291.

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The purpose of this study was to investigate the effects of vibrato and pitch-varied vocal models on acoustic measures of high school and undergraduate singers’ vocal performance. Participants’ perception of vocal models was also examined to explore a possible relationship between perception and production. The following primary questions guided this research: 1) Is singers’ intonation affected by vibrato or pitch-varied vocal models? 2) Is singers’ vibrato rate affected by vibrato or pitch-varied vocal models? 3) Is singers’ vibrato extent affected by vibrato or pitch-varied vocal models? 4) Is singers’ intensity affected by vibrato or pitch-varied vocal models? Secondary questions under investigation were: 1) Do singers respond differently to vocal models of pitch patterns versus song phrases? 2) Does age and experience influence singers’ response? 3) Do singers perceive the differences in vocal models?

Participants (N = 76) were male (n = 38) and female (n = 38) singers who were undergraduates (n = 40) currently participating in a choral ensemble at the Florida State University or high school students (n = 36) currently enrolled in the choral program at a nearby high school. Participants responded to twelve vocal models of the same gender that were varied in melody, vibrato, and intonation conditions. Vocal models consisted of either a short pitch pattern ( sol-la-sol-fa-mi-re-do) or familiar song excerpt (Are You Sleeping?), both performed on the neutral syllable “tah.” Model melodies were sung in vibrato and minimal vibrato conditions, with each model having a specific 3rd and 5th scale degree that was presented in tune, sharp, or flat (mistuned pitches ± 25 cents relative to equal temperament). After responding to vocal models, participants were asked via written questionnaire if they perceived differences in vocal models and, if so, to describe them.

Audio recordings of participants’ responses were analyzed acoustically, with the specific 3rd and 5th scale degrees in each model analyzed for the dependent measures of intonation, vibrato rate, vibrato extent and intensity. Repeated measures analyses were conducted on the acoustic measures. An alpha level of .01 was used in all statistical tests. Written responses on the questionnaire were analyzed for keywords reflecting vocal technique or musical elements. Keywords were then identified and coded for frequency of response.

Significant differences in intonation were found, with responses to minimal vibrato models performed more flat than responses to vibrato models. Main effects were also found for gender, with male participants showing overall more flatness than females. Responses to pitch-varied models tended towards flat intonation, with flat models producing the greatest deviation particularly with male participants. Two interactions, both involving melody condition of models, also produced differences in intonation.

Significant differences in measures of vibrato rate and extent were also observed. Vibrato rates were faster and vibrato extents were wider in response to vibrato models. High school participants responded with similar vibrato rate and extent to both vibrato model conditions, whereas undergraduates responded with significantly faster vibrato rate and wider extent to vibrato models. Undergraduate vibrato rates were similar between genders, however high school males were significantly slower in vibrato rate than high school females.

Intensity results for both high school and undergraduate participants showed significantly higher intensity levels for 5th scale degrees than 3rds. High school males performed both scale degrees at similar intensity levels, while high school females sang 5ths with higher intensity. Significant differences in intensity were also found with undergraduates, with responses to vibrato models yielding higher intensity. Male undergraduates were found to sing with higher intensity in response to vibrato models, whereas females sang with similar intensity between vibrato-varied conditions. Interactions involving scale degree or melody condition of models also produced significant differences in intensity.

Analysis of written questionnaires showed that 71 (93%) participants perceived differences in models. The most frequently used keyword(s) was vibrato/straight tone, with 36 participants (51%) noting this as a perceived difference between models. Timbre/tone quality was the next most used word(s) by 13 participants (17%), followed by intonation/pitch used by 12 participants (15%). More males noticed changes in tone quality, intonation, and vowels than females, whereas the latter recognized vibrato changes more than males. Undergraduates perceived vibrato changes and intonation differences more than high school participants.

Many complex factors were thought to contribute to results of this study, including perception, experience, vocal development, and vocal production. While some findings support prior research, other results raise questions that warrant additional investigation. Implications and ideas for future inquiry are discussed.

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Olovsson, Mika. "Det krävs förebilder överallt : En intervjustudie om slagverkslärares syn på kvinnliga slagverkselevers musicerande ur ett genusperspektiv." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-55474.

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Syftet med denna studie är att få insikt kvinnliga slagverkslärares syn på villkor för kvinnliga slagverkselevers musicerande. Studien genomförs utifrån genusteorier och med utgångspunkt i ett socialkonstruktivistiskt perspektiv. Datamaterialet samlades in genom sex semistrukturerade kvalitativa intervjuer, varav en fungerade som pilotintervju. Intervjuerna transkriberades och därefter gjordes en tematisk analys av materialet. Resultatet visar att de intervjuade lärarna förespråkar vikten av kvinnliga förebilder och deras representation i media. Utöver kvinnor lyfts även familjemedlemmar fram som förebilder, vilka potentiellt kan ha inverkan på elevernas instrumentval och fortsatta musicerande. Enligt lärarna i föreliggande studie ställs slagverkare inför olika typer av svårigheter, vilka yttrar sig på olika vis, beroende på om de är tjejer eller killar. Prestationskrav och sociala jargonger är exempel på detta
The main purpose of this study is to examine female percussion teachers view on the challenges of being a female percussion student. The theoretical basis of the study is gender theories and social constructionism. Data was collected from six semi-structured interviews whereof one was used as a pilot interview. The interviews were transcribed and thereafter thematic analysis was used to examine the data. The results show that the female teachers all advocate the importance of female role models and the way they are depicted in the media. Family members are also highlighted as important and influential role models concerning the pupils’ choice of instrument or continued musicing. The teachers in this study are of the opinon that percussionists, depending on their gender, face different challenges. As an example, they mention performance anxiety and social tendencies.

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Santiago, Glauber Lúcio Alves. "Uma proposta de modelo para diagnóstico dos atributos do educador musical em projetos pedagógicos de cursos de licenciatura em música baseado na gestão de competências." Universidade Federal de São Carlos, 2006. https://repositorio.ufscar.br/handle/ufscar/3294.

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Made available in DSpace on 2016-06-02T19:49:58Z (GMT). No. of bitstreams: 1 TeseGLAS.pdf: 10790435 bytes, checksum: eb378bcce969561fd7775ccb18c3b3d5 (MD5) Previous issue date: 2006-09-19
This work intends to demonstrate the feasibility and applicability of competency management rudiments in activities connected to the formation of music educators. More specifically, it is meant to propose a model to evaluate graduate educational projects in music regarding the qualification of graduated. The study is based upon a theoretical reference that comprehends competency management and music education; having for the latter the purpose of characterizing the music educator s attributes. After an extended bibliographical research on many different authors, it was proposed a model for analysis of graduate educational projects based on competency management, and then an empirical implementation in an actual educational project was fulfilled. As a conclusion, this research could attest that it is possible the application of competency management methods in music graduate courses and in music educators formation as well, with substantial possibilities for benefits.
O presente trabalho pretende mostrar a viabilidade e a aplicabilidade de princípios da gestão de competências em atividades relativas à formação profissional do educador musical. Mais especificamente, visa propor um modelo para o diagnóstico de projetos pedagógicos de cursos de licenciatura em música, no que tange à capacitação das competências do aluno egresso. O trabalho, parte de um referencial teórico que abrange a gestão de competências e a educação musical, nesta última, tendo por finalidade a caracterização dos atributos do educador musical. Após a pesquisa bibliográfica com um grande número de autores, foi proposto um modelo para diagnóstico de projetos pedagógicos de cursos de licenciatura baseado na gestão de competências e foi realizada uma aplicação experimental em projeto de curso real. Como conclusão, o trabalho pôde verificar que é possível a aplicação de sistemáticas de gestão de competências com grande potencial de benefícios para os cursos de licenciatura em música e para a formação dos educadores musicais.

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Amoah, Maame A. "FASHIONFUTURISM: The Afrofuturistic Approach To Cultural Identity inContemporary Black Fashion." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent15960737328946.

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Barros, Fábio Carrilho Santos. "Pedagogias abertas e o modelo artístico no ensino do violão para iniciantes." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-26022018-105314/.

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Esta dissertação visa apontar possíveis caminhos e reflexões para uma pedagogia criativa para o violão em sintonia com propostas contemporâneas de educação musical que tem como base as pedagogias abertas e o modelo artístico de ensino de música. Ambos conceitos formam o alicerce do pensamento pedagógico-musical do Foro Latinoamericano de Educación Musical (FLADEM). As pedagogias abertas propõem a superação de estruturas curriculares rígidas e de procedimentos de ensino planejados de maneira a não considerar os interesses dos alunos. O modelo artístico de ensino de música integra o conceito das pedagogias abertas e significa trabalhar a música a partir da música, com os conhecimentos sendo construídos a partir das experiências vivenciadas pelos alunos, as quais incluem práticas criativas, como a composição e a improvisação. São tomados como referenciais teóricos a obra pedagógica da educadora musical argentina Violeta de Gainza (n.1929) e de autores associados ao FLADEM, assim como o legado pedagógico do músico e educador alemão Hans-Joachim Koellreutter (1915-2005), pela grande proximidade de seu pensamento com os conceitos das pedagogias abertas e do modelo artístico. Será também analisado o que chamei de \"abordagem geográfica\" do violão enquanto ferramenta pedagógica para o desenvolvimento de práticas criativas. Tal recurso musical consiste na exploração do instrumento a partir de seus aspectos físicos, algo notadamente presente na literatura violonística em obras de Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (n.1939), entre outros. Questões específicas sobre estratégias de aulas envolvendo assuntos como composição, improvisação, experimentação instrumental, desenvolvimento técnico, sonoridade, fraseado, teoria musical, notação e o tocar de ouvido também são objetivos deste trabalho. A parte prática analisada envolve duas categorias: as experiências pedagógicas realizadas com estudantes de violão da FIAM-FAAM e da Teca Oficina de Música, instituições de ensino localizadas em São Paulo, e as minhas experiências composicionais próprias correspondentes à série de estudos violonísticos \"Desenhos\". Entre os aspectos observados, a criatividade, o perfil artístico e a formação pedagógica do professor de instrumento foram tidos como essenciais para o desenvolvimento deste modelo de ensino com o público iniciante.
This dissertation aims to point out possible paths and reflections for a creative guitar pedagogy in harmony with contemporary proposals of musical education that are based on open pedagogies and the artistic model of music teaching. Both concepts form the foundation of the pedagogical-musical thinking of the Latin American Musical Education Forum (FLADEM). The open pedagogies propose the overcoming of rigid curricular structures and planned teaching procedures that do not take the students\' interests into consideration. The artistic model of music teaching integrates the concept of open pedagogies and implies to work with music from the music itself, with the knowledge being constructed from the experiences lived by the students, which include creative practices, such as composition and improvisation. The pedagogical work of Violeta de Gainza (b. 1929) and authors associated with FLADEM as well the pedagogical legacy of German musician and educator Hans- Joachim Koelleutter (1915-2005) were used as theoretical references due to the close proximity of their thinking with the concepts of open pedagogies and the artistic model. I will also analyze what I call the \"geographical approach\" of the guitar as a pedagogical tool for the development of creative practices. This musical resource consists of the exploration of the instrument from its physical aspects, something notably present in the guitar literature on the works of Villa-Lobos (1887-1959), Abel Carlevaro (1906-2001), Leo Brouwer (b.1939) among others. Specific questions about classroom strategies involving subjects such as composition, improvisation, instrumental experimentation, technical development, sonority, phrasing, music theory, notation and playing by ear are also objectives of this dissertation. The practical part analyzed encompasses two categories: the pedagogical experiences with guitar students of FIAM-FAAM and of the Teca Oficina de Música, which are educational institutions located in São Paulo, and my own compositional experiences corresponding to the \"Desenhos\" series of guitar studies. Among the aspects observed, the creativity, the artistic profile and the pedagogical formation of the instrumental teacher were considered to be essential for the development of this model of teaching with beginners.

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Escobar, Martínez María Dolores. "Literatura y música. Un modelo didáctico de interpretación intertextual en educación secundaria." Doctoral thesis, Universidad de Murcia, 2010. http://hdl.handle.net/10803/10762.

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La profunda relación existente entre la música, el lenguaje y la literatura a través de la historia se ha manifestado en diversos niveles de interacción capaces de inspirar y justificar el diseño de intervenciones didácticas musicales para la educación literaria en Secundaria. La presente investigación propone la utilización de técnicas interdisciplinares músico-literarias como parte de un modelo didáctico de interpretación intertextual que contribuya a mejorar las competencias lingüísticas y literarias en el alumnado de Educación Secundaria.
The deep relationship between Music, Language and Literature through History has shown itself in various ways and at very different levels of interaction inspiring and making possible the design of didactic strategies using Music in order to teach literature in secondary education.This book presents a few ideas and practical examples of how an interdiciplinary approach can help to improve linguistic and literary skills in the classroom.

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Coutinho, Raquel Avellar. "Formação superior e mercado de trabalho: considerações a partir das perspectivas de egressos do Bacharelado em Música da UFPB." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/7491.

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This research sought to understand the relationship between the academic higher education of students who obtained the Bachelor of Music degree at the Universidade Federal da Paraiba (UFPB) and their insertion and professional performance in the labor market in the city of Joao Pessoa, through their own perception. Thus, we have develop a qualitative research based on interviews, with ten out of the 21 students who fitted the selection criteria – i.e. instrumentalists who obtained the title of Bachelor of Music between the years of 2010 and 2011, and worked professionally in the city of Joao Pessoa. As an instrument for data collection, semi-structured interviews were conducted in order to recognize the alumni‟s own experience through out the undergraduate course, as well as in the labor market, to identify recurrent social representations in their discourses, and to understand how the University proposed curriculum of the course contributed to labor opportunities in the professional job market. The critical analysis of the reports was done from the perspective of the Social Representations Theory and studies from the Music Education area that showed some relation with the chosen theme and the data collected. In this sense, we discussed how the relation between the students and the music was established and how the social representation of the artist‟s roll can be recognized through the family‟s support (or their lack of support) to the option of being a professional musician. From the data obtained and the bibliographic and documental analysis, we could find the influence of the Conservatory Teaching Model in the course‟s curriculum, although it had been adapted. Besides, we make some considerations about the student‟s perceptions and expectations on their education, reflecting about possible innovations and adaptations for the curriculum. The dichotomy between being a musician against being a professor is also emphasized, as teaching appeared on the reports as a professional option for the bachelors as, in fact, these two possibilities appear as complementary activities. Thus, we conclude that the course curriculum as propose by the University is not properly articulated to the job market reality, notably in relation to the labor market in city of Joao Pessoa.
A presente pesquisa buscou compreender a relação entre a formação superior de egressos do curso de Bacharelado em Música da Universidade Federal da Paraíba (UFPB) e sua inserção e atuação profissional no mercado de trabalho da cidade de João Pessoa, a partir das percepções dos mesmos. Para tanto, realizamos uma pesquisa qualitativa com base em entrevistas, com dez dentre os 21 alunos que se adequavam aos critérios de seleção – instrumentistas egressos do curso de Bacharelado nos anos de 2010 e 2011, que atuavam profissionalmente na cidade de João Pessoa. Como instrumento de coleta de dados, foram realizadas entrevistas semi-estruturadas, buscando conhecer a experiência dos egressos no curso e no mercado de trabalho, identificar as representações sociais recorrentes nos discursos e compreender como o currículo proposto pelo curso contribuiu para o ingresso do profissional no mercado de trabalho. A análise crítica dos relatos foi realizada sob o olhar da Teoria das Representações Sociais e de estudos da área de Educação Musical e áreas afins que mostraram ter relação com o tema escolhido e os dados coletados. Neste sentido, discutimos como foi estabelecida a relação dos egressos com a música e como a representação do papel social do artista pode ser reconhecida no apoio familiar (ou a falta dele) à opção pela profissão de músico. A partir dos dados obtidos e da análise bibliográfica e documental, pudemos constatar a influência do Modelo Conservatorial de Ensino no currículo do curso em questão, embora tenha sofrido adaptações. Além disso, tecemos considerações acerca das percepções e expectativas dos egressos sobre a sua formação, refletindo sobre possíveis inovações e adaptações no currículo. A dicotomia músico versus professor também foi enfatizada, já que a docência apareceu nos discursos como uma opção profissional do bacharel e, na prática, essas duas possibilidades de atuação aparecem como atividades complementares. Concluímos, assim, que a proposta do curso não está devidamente articulada à realidade do mercado de trabalho atual, especialmente em relação à cidade de João Pessoa.

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Swanson, Joshua. "Talk This Way: A Look at the Historical Conversation Between Hip-Hop and Christianity." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/etd/3810.

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Christianity and Hip-Hop culture are often said to be at odds with one another. One is said to promote a lifestyle of righteousness and love, while the other is said to promote drugs, violence, and pride. As a result, the public has portrayed these two institutions as conflicting with no willingness to resolve their perceived differences. This paper will argue that there has always been a healthy conversation between Hip-Hop and Christianity since Hip-Hop’s inception. Using sources like Hip-Hop lyrics, theologians, historians, autobiographies, sermons, and articles that range from Ma$e to Tipper Gore, this paper will look at the conversation between Hip-Hop and Christianity that has been ongoing for decades. This thesis will show why that conversation is essential for the church and necessary for Hip-Hop artists to express themselves fully. This paper will show rap and Hip-Hop culture to be a complex institution with its own theology, history, and prophets – that uses its own voice to express how urban youth view not only their lives but also how God and the church are present in their lives.

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Gramm, Warren Michael. "Peer mentoring in modern band." Thesis, 2021. https://hdl.handle.net/2144/42042.

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The purpose of this investigation was to examine a single modern band to discover how an ensemble director/facilitator implemented peer mentoring and other student-centered pedagogical approaches. Observations of an urban high school modern band were conducted over the course of five months of rehearsals with a summative performance. Participants included 12 high school students, one primary educator, and one student teacher. Qualitative data were collected through artifacts and observations as well as group, individual student, and individual teacher interviews. Data were coded and analyzed, revealing emergent themes. The facilitator encouraged students to share their knowledge, opinions, and suggestions for direction through peer mentoring. Students in the ensemble claimed there existed significant social aspects of participation and found interactions within to be a formative part of their school experience. Findings include substantial engagement in peer mentoring, social bonding through modern band, and the sharing of knowledge between students in a relaxed atmosphere in which student agency, autonomy, and democratic decision-making were key tenets. Data analysis revealed musical and social benefits with a facilitator who championed student-centered pedagogy within a relaxed environment. Modeling was found to be a key tenet of learning and communication and critique between peers were more easily understood and better received as compared to that from their facilitator. Peer mentoring opportunities seemed to be reliant upon music that was familiar to students presented in a manner that left room for subjective interpretation and reliance upon peers’ understanding. Peer mentoring was also identified as a definitive component of modern band instruction in addition to its benefit within the ensemble for students musically and socially. Pedagogical suggestions for music education include increased autonomy and student agency in all classrooms; the provision of pathways for teachers to develop facilitation and peer mentoring skills; frequent opportunities for performance; careful consideration of student proximity for peer mentoring; and finding balance between traditional and nonformal teaching methods. Other implications for the profession include implementation of facilitation in all ensembles; careful repertoire decision-making; the development of student leaders; avoiding false representations of popular music ensembles; and encouragement of socializing in modern band ensembles.

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Dane, Matthew Anderson. "Coordinated effort: A study of Karen Tuttle's influence on modern viola teaching." Thesis, 2002. http://hdl.handle.net/1911/18071.

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Karen Tuttle is unquestionably a living legacy in the world of viola pedagogy. The potency of her teaching philosophy, along with her dynamic personality, has influenced music students for almost sixty years. She has always been a famously free spirit whose ideas have consistently drawn both controversy and allegiance. Despite changes in cultural climate, Tuttle's belief in the importance of personal exploration has remained steadfast. Her contributions to both the meaning of performance and the mechanics of viola playing have enriched the field of viola pedagogy on a scale that is rare. More than a playing technique or a school, Tuttle's teaching is truly a philosophy. The nature of her playing philosophy, and the level of exposure it has received, has made her teaching both controversial and misunderstood. The purpose of this study is to examine Karen Tuttle's influence on modern viola teaching. Based primarily on many articles and interviews, topics covered include her biography, her teaching principles, and her influence in teaching. This influence is researched through interviews with former students. Of her legacy in viola pedagogy, we see specifically what is most groundbreaking and effective, and how this has made her teaching so revered.

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Navon, Joshua. "The Making of Modern Musical Expertise: German Conservatories and Music Education, 1843-1933." Thesis, 2019. https://doi.org/10.7916/d8-k9g9-c050.

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Music conservatories are central institutions to the field of classical music. In them, aspiring professional hone their craft, renowned musicians pass on their expertise to upcoming generations, and notions of exactly who and what is considered “musical” are forged and disseminated. However, the apparently self-evident place of conservatories in modern cultures of classical music obscures their historical novelty—it is only since the latter nineteenth century that these institutions have become a pervasive force in classical music pedagogy and culture. This dissertation explores this revolution of institutionalized training in classical music by analyzing the history of German music conservatories over a roughly ninety-year period, from the founding of the Leipzig conservatory in 1843 to the Nazi takeover of power in 1933. Combining archival research, extant musicological scholarship, and theoretical and methodological approaches developed in a variety of social scientific and humanities disciplines, each chapter traces and historicizes a key development in modern music-pedagogical thought and practice: 1) the crystallization of a set of pedagogies designed to produce competency in the performance of canonical musical works; 2) the development of music education as a discipline; 3) the emergence of ear training; 4) the rise of Émile Jaques-Dalcroze’s method of rhythmic gymnastics. Throughout, I show that conservatories not only served to reproduce specific musical practices (such as the faithful performing of musical works, or Werktreue), but that they also functioned as incubators for new ways of thinking about human musicality and the pedagogies that would produce it. In particular, the latter chapters outline central features of what I call the “psychotechnical turn” in music education in the decades surrounding 1900, arguing that this resulted from growing connections between conservatory pedagogy and the psychological sciences.

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Nevhutanda, Ntshengedzeni Alfred. "Restructuring South African music education curriculum to meet the post-apartheid paradigm shift in education." Thesis, 2005. http://hdl.handle.net/2263/27386.

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Yon, Kirsten Annica. "A distinctive legacy: The musical, historical, and practical evolution of the American concertmaster from the 1950s to the present. A comparative examination of the concertmaster position and concertmaster lineage in modern-day America." Thesis, 2008. http://hdl.handle.net/1911/22181.

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This document examines the historical role and lineage of the current American concertmaster. Foundational discussions include the establishment of the concertmaster, the professional relationship with the conductor, and the evolution of the role into its present-day format. Interviews with contemporary concertmasters of major American orchestras form the basis for a detailed observation of the modern orchestral audition process, the basic responsibilities of a concertmaster, the leadership, pressures, and community expectations involved with the position, and the future of concertmaster education in America. Interviewed concertmasters are: Bill Preucil of the Cleveland Orchestra, Emmanuelle Boisvert of the Detroit Symphony Orchestra and the Seattle Symphony, Andres Cardenes of the Pittsburgh Symphony Orchestra, Juliana Athayde of the Rochester Philharmonic, and Joseph Silverstein, the former concertmaster of the Boston Symphony Orchestra.

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Adeogun, Adebowale Oluranti. "Music education in Nigeria, 1842 - 2001 : policy and content evaluation, towards a new dispensation." Thesis, 2006. http://hdl.handle.net/2263/28613.

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This study traces the development of music education in Nigeria from its origins to the present day and clarifies how certain ideas and practices in Nigerian music education have originated. The study includes the discussions of the historical roots of modern music studies as based on indigenous African philosophy of education, later influenced by Islam and Islamic philosophy of education and Western systems of music education. The thesis looks historically and analytically at some problems of music education policy implementation and their implications or consequences (intended and unintended). Working from a postcolonial discursive perspective, the study narrates the story of Nigeria’s colonial encounters in a way that gives prominence to issues of educational policies and music curricula content that have, to date, been kept on the periphery of the education debate. This study examines the postcolonial Nigerian governments’ attempts to promote African cultures and traditions and efforts to expand as well as reform the education sector to reflect the Nigerian heritage and culture. The efforts to expand have outstripped the efforts to reform The efforts to reform the modern educational enterprise have led to the emergence of National Policy on Education, the Cultural Policy for Nigeria, the central control of education, and the provision of national music curricula. This study investigates the development of music education, policies and curricula since Nigeria’s independence in 1960, examines its current states and concludes that the attainment of independence has done little to erase the footprints of colonial music education ideology in Nigeria. Following an introduction to the music profession in Nigeria, the study provides an overview of the changes to tertiary music education since 1961 and analyses major issues currently faced by Nigerian tertiary music educators and scholars including: a shortage of qualified music academics, inappropriateness of imported music curriculum to the socio-cultural peculiarities of the Nigerian society, the unfit marriage of academic teaching and professional training in the music curricula, inability to produce realistic music teachers, policy makers, music education administrators, and learning texts, inadequate music research, and insensitivity to needs of the labour market. The study finds out that Nigeria has a rich musical heritage which includes the indigenous African, Afro-Islamic and Euro-American music. She has viable indigenous African philosophy, modes, and models of music education which is capable of imparting the modern African person with the human values and theoretical imperatives that can make the modern Nigerian person practice music in the modern global context. This legacy, which should empower the modern Nigerian person educationally to demonstrate national identity and mental authority locally and globally, is however, being repressed in schools and colleges curricula. Nigeria continues to struggle with music curricula that were laid down by colonial regime in the past but still continues to govern the development of musical life of Nigerian people. It is the finding of this study based on the analytical perspectives it adopts that the National University Commission (NUC) music curriculum content does not measure up with the criteria of validity, significance, interest, learnability, utility, contemporariness, relevance and consistence with social realities. The analysis of the curriculum content with Holmes (1981) theories also reveals that it is essentialism, encyclopaedic and less pragmatic in orientation while its objectives are more subject-centred than society-centred and student-centred. The study obtains evidence from observation of about 100 music lessons in ten tertiary departments of music, a tracer study of 400 music graduates, 105 students’ evaluation of institutional resources, and 28 practitioners’ and 22 academics’ (50) rating of capabilities they considered essential in a music graduate. It sources further evidence from 15 employers’ of music graduates who identified some strengths and weaknesses of music graduates they employed. From an evaluation of this evidence, the quality of the present tertiary music curriculum is judged to be generally poor and uninspiring. The study posits that tertiary music education in Nigeria needs a fundamental improvement. Based on its findings, the over-riding recommendations of the study are that all aspects of music education in Nigeria should be indigenous music research-based, indigenous culture-sourced and continuously evaluated to insure that music education programmes in Nigeria are as effective as possible in the context of Nigerian experiences and aspirations as with Nigerian students and other shareholders. It further recommends that music educators must adapt both music curricula and methods to the cultural backgrounds and needs of a changing Nigeria’s student population.
Thesis (DMus)--University of Pretoria, 2007.
Music
unrestricted

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Lategan, Stephanus. "Konstruktiewe en destruktiewe aanwending van musiek sedert die aanvang van die moderne era : 'n ondersoek vanuit 'n opvoedingsperspektief." Thesis, 1994. http://hdl.handle.net/10500/17173.

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Text in Afrikaans
Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk gebruik om historiese gegewens oar die konstruktiewe en destruktiewe aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer. Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking tot: Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak. Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue bevorder. Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van 'n innige geloofsgemeenskap te bevorder. Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen. 'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur bevorder. Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke stelsels te ondersteun. Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te bevorder. Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig, 'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone te be1nvloed. Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe toestande teweeg te bring. Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede, ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie aangewend. Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn, religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is. 'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het uit die analise voortgevloei.
Certain findings concerning the positive and negative influences of music and the functions fulfilled by it in the life-world of man were used as a reference framework in order to analyse historical data on the constructive and destructive applications of music in mainly Germany and the U.S.A. It came to light that music was constructively applied with regard to: Intellectual shaping: Music was employed to enhance various intellectual skills, to improve the acquisition of knowledge and to render the learning process more pleasant and effective. Aesthetic shaping: An aesthetic value system and a good artistic taste were developed and the shaping of complete, balanced individuals was promoted through music. Religious shaping: Music was employed to express religious thoughts and perceptions and to promote close community of faith, knowledge transfer, evangelization and missionary effort. Ethical shaping: Ethical truths were reiterated and "practised" and a "moral atmosphere" and a value system established through music. Political shaping: Political feelings and opinions were expressed through music and people were influenced to support specific viewpoints, parties, governments or political systems. National shaping: Music was employed to express patriotism, to reflect the cultures of nations, to add lustre to national gatherings and to promote national unity. Social shaping: Music was a source of entertainment and recreation and a means of communication. Through music the establishment of a group identity, socialization and a communal sense were promoted and behavioural patterns affected. Affective shaping: Music was a means of ordering and ennobling inner life and of facilitating positive changes in affective conditions. Physical shaping: Relaxation, recreation, physical skills and activities were promoted through music which was utilized as a therapy. Music was also destructively employed by undermining the Christian church and harming religious worship, by negatively influencing youth's emotional selfcontrol, ethical value systems and the actualization of independence, by furthering aggressive and rebellious behaviour, inducing trances, causing physical damage to hearing organs and promoting militarism, political viciousness, racial hatred and the overthrow of governments. A number of recommendations and warnings concerning the employment of music in formal, non-formal and informal educational situations resulted from the analysis.
Art History, Visual Arts & Musicology
D. Ed. (Historiese Opvoedkunde)

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Vepřek, Jan. "Skupinová hra v hudební výchově Využití hudebně výrazových prostředků moderní populární hudby v činnostní hudební výchově." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312654.

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Modern popular music is worldwide spread and it is developing rapidly. Therefore it is important for the music teachers to react to this fact. They should offer students the possibility to find their bearings in the great amount of newly developing popular music and also in the new expressive means of music. Of course, this can be done through lectures and suited listening, but I argue that both these activities should be accompanied by learning-by-doing musical activity, because it gives the students the opportunity of practicing the new information and of understanding it in context. My thesis therefore focuses on this issue. It deals with the possibilities of implementing group music performance using the expressive means of modern popular music in music education. It could also be used as a set of practical advices for creating suitable music arrangements for students. The author defines key terms, most important of which are undoubtedly the concept of modern popular music and defining the group of students. The second chapter lists suitable instruments and their description. It focuses on instruments suitable for participating in the rhythmic section. We use some of the Orff instruments as well as some other user-friendly instruments. The third chapter deals with playing in a group in music...

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Bento, Rebeca Sofia Filipe. "A influência da teoria da aprendizagem musical no 2º ciclo do ensino básico." Master's thesis, 2020. http://hdl.handle.net/10362/101586.

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Faz parte deste trabalho vários ficheiros audio que só podem ser consultados na Biblioteca Mário Sottomayor Cardia
O presente relatório foi realizado no âmbito do Mestrado em Ensino da Educação Musical no Ensino Básico (2º ciclo), da Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Este documento integra o registo escrito relativo à Prática de Ensino Supervisionada desenvolvida num estabelecimento de ensino cooperativo, pertencente ao Concelho de Lisboa, no ano letivo de 2018/2019, bem como uma análise incidente em três aspetos fundamentais: a observação, a prática e reflexão acerca das práticas pedagógicas e no papel ativo do professor enquanto modelo comportamental no processo de ensino-aprendizagem. Deste modo, a prática pedagógica teve como influência o método da Teoria da Aprendizagem Musical de Edwin Gordon. O relatório encontra-se organizado em seis capítulos: o primeiro parte das orientações-base para o desempenho da prática da Educação Musical no 2º ciclo do Ensino Básico e o papel do docente, o segundo visa contextualizar e descrever o local da prática de ensino supervisionada, o terceiro retrata o desenvolvimento da prática de ensino supervisionada, durante a observação e lecionação de aulas, assim como na assistência a reuniões realizadas na escola, o quarto é destinado a uma avaliação das competências de ensino, baseada nas competências de ensino de Charlotte Danielson, o quinto consiste numa breve reflexão pessoal sobre a participação no projeto de investigação “Cantar Mais- Mundos com Voz”. Por último, o sexto ponto capítulo engloba, uma breve descrição das minhas experiências, que contribuíram para a minha prática, no contexto da prática de ensino supervisionada fora deste.
This report was written as part of the the Master’s degree in Musical Education in Basic School (2nd Cycle), of the Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. The following document presents the written record of supervised teaching practice developed in a cooperative educational establishment, in Lisbon, at the school year of 2018-2019. It also includes an analysis mainly focused, in three fundamental aspects: observation, practice and reflection about the pedagogical practice and about the active role of teachers as a behavioural model in the teaching-learning process. Thus, the pedagogical practice has been strong influenced by the Edwin Gordon, with Music Learning Theory. The report is organized into six chapters: the first starts by basic guideline, leading to the performance of the practice of Music Education in the 2nd Cycle of Basic Education and the role of the teacher, the second aims to contextualize and describe the place where the supervised teaching practice was made. Regarding the third one, it concerns the development of supervised teaching practice during classroom observation and teaching, as well as attending school meetings. The fourth chapter is an evaluation of teaching skills based on the teaching skills of Charlotte Danielson, where as the fifth chapter, is intended for a short personal reflection about my participation in the research project “Cantar Mais – Mundos com Voz”. Finally, the sixth chapter, is a brief description of my experiences that contributed to my practice in the context of supervised teaching practice and outside of this.

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Grove, Johanna Petronella. "Music education unit standards for southern Africa : a model and its application in a general music appraisal programme." Thesis, 2002. http://hdl.handle.net/2263/30173.

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In the process of reform and development in South Africa, set in motion after its first democratic elections (1994), educators have the unique opportunity to re¬think, re-plan and re-structure the music education system holistically within the context of formulating unit standards now required by the South African Qualifications Authority (SAQA) for all learning areas. This thesis addresses two aspects in this process, against the background of the broader MEUSSA (Music Education Unit Standards for Southern Africa) Research Project, namely the development of a model for music education in Southern Africa and its application in a General Music Appraisal Programme (GMAP) for all learners. The MEUSSA Model, developed in this thesis, captures and displays the key elements necessary to compile unit standards across the board in music education, as identified by the author and endorsed by the MEUSSA team. These standards are grouped together in a musically logical way under collective headings. The three-dimensional model in the form of a cube can be manipulated according to the needs of the specific music practice involved, at the same time keeping the broader context of music education in Southern Africa in perspective. The MEUSSA Model is intended by the author to keep the standards generating process together cohesively. The author implements the MEUSSA Model in the GMAP, which she compiled with the aim of providing a general music education background for all learners in Southern Africa. The learning outcomes (unit standards) address music-¬specific skills, knowledge and attitudes with their related assessment criteria.
Thesis (DMus)--University of Pretoria, 2006.
Music
unrestricted

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Fang, Chingling, and 方慶琳. "The modern exploration of the Book of Rites and the Book of Music- from the basic definitions to the educational theories." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/16517034999614012903.

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碩士
東吳大學
哲學系
95
The thesis starts first from asking questions about ourselves, then through the research of the Book of Rites and the Book of Music to find the modern interpretation of how we can settle ourselves down with our pursuit. The research of the Book of Music begins with its explanation of sound, voice, and music, then the theory of “response of Heaven and men—” the sound and emotion of men are influenced by the environment. However, if we don’t control our emotion and desires, we’ll be controlled by them instead. Hence the Book claimed that rites and music are the best ways to reduce human desires. Music can moderate our emotion and behavior, reaching the harmony of body and mind. It also enables us to follow the moral rules in our mind, make the right judgment, take the proper action, and finally become virtuous. Next the exploration of the Book broadens to the state of a country and its education. The conclusion points out the Book’s value in early Qin Dynasty, and the different educational emphasis from modern one, that it stressed on the collaboration of community and individuals. In ancient times, only adults received music education, while poems and rites were also included. Political performance and social activities were used to verify whether one’s education was successful or not. The Book of Music approved of our nature, and that education can adjust the Heaven-men relations and promote the harmony between community and individuals, then achieve Benevolence and Harmony at last.

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Williams, Krista Faye. "Counterspaces in band programs: experiences of African American female band directors at the secondary level." Thesis, 2021. https://hdl.handle.net/2144/42440.

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The purpose of this qualitative study was to examine how African American female band directors create and utilize counterspaces for African American female musicians to share collective and individual experiences, maintain involvement, form positive self-definitions about themselves, and to counter intersecting forms of oppression in bands. In this study, I also examined the African American female band directors’ perceptions about counterspaces in bands. To illuminate the experiences of the 17 African American female band directors who participated in this study and their use of counterspaces as an activist response to resist intersecting forms of oppression perpetuated within the band world, Black feminist thought (BFT) as a framework was employed. The following research questions guided this study: (1) What are the African American female band directors’ perceptions and knowledge about counterspaces, and how do they utilize counterspaces to counter intersecting forms of oppression that African American female musicians face in bands?; (2) How do the African American female band directors utilize counterspaces to help the African American female band students form positive self-definitions about themselves, and to share their individual and collective experiences of involvement in bands?; and (3) How do counterspaces help African American female band directors understand common themes in the lives of African American female musicians that contribute to their sustained involvement in bands? The findings of this study revealed that counterspaces are essential for countering the perpetuation of intersecting forms of oppression and negative stereotypical images of African American females. This study further revealed that counterspaces functions as a mechanism where African American female band directors are able to foster the interconnected dimensions of self-definitions, collective and self-empowerment, and oppositional consciousness among their respective African American female band students. This study also provided insight into the current status of African American females within the field of instrumental music education in the U.S and dimensions of power structures that are continuously perpetuated to negate African American female’s equal stance within the field.

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McLachlan, Christine. "'Doing hope': mentoring with people doing care, working and dealing with trauma in a township in South Africa." Diss., 2007. http://hdl.handle.net/10500/537.

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Working in a township is a challenging but also rewarding way of living. In this dissertation the researcher, in collaboration with the co-searchers, explore ways to mentor one another as they learn how to deal with trauma, either by experiencing trauma directly or witnessing secondary trauma. This leads to new ways of being 'in the moment', coping with trauma, forming a community of care and learning to be in an aware and empowered position. The responsibility of practical theology and the commitment to pastoral care are explored in the context of theology, and spesifically feminist theology, contributing to 'do hope' in Mamelodi.
Philosophy, Practical & Systematic Theology
M.Th. (Pastoral Therapy)

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Dissertations / Theses on the topic 'Modern music education'

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