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Eakes, Kevin Wayne Walls Kimberly C. "A comparison of a sociocultural and a chronological approach to music appreciation in face-to-face and online instructional formats." Auburn, Ala, 2009. http://hdl.handle.net/10415/1681.
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McDonald, Jennifer Ann. "Music and me : measuring and understanding real-life music preferences." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608208.
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李德芬 and Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.
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Bolanis, Susan Loehrke. "Children's responses to live musical performance by an ensemble without, then with pedagogical training." [S.l. : s.n.], 1996. http://catalog.hathitrust.org/api/volumes/oclc/53916456.html.
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Cox, Elizabeth J. "Reducing noise : multimedia and the appreciation of contemporary music." Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435271.
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Cusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.
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Thesis (Ph. D.)--Indiana University, 2004.Computer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.
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McNeely, Heather Eaves. "Questioning boundaries in traditional music appreciation pedagogy: a study of the effect of an attentive listening-based approach on the music appreciation achievement of college, non-music majors." Thesis, Boston University, 2013. https://hdl.handle.net/2144/11141.
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Thesis (D.M.A.)--Boston UniversityMusic appreciation courses have become core components of humanities and education curricula, yet scholars have differed on the definitions, approaches, and goals of such courses. Researchers have investigated the efficacy of various pedagogical approaches to teaching music appreciation; some have attempted to measure appreciation and clarify its definition and goals; others have argued that a traditional approach perpetuates a hidden curriculum of social stratification. The purpose of this study is to determine the effectiveness of an attentive listening-based approach on the music appreciation achievement of college, non-music majors compared to a traditional approach. In this study, indicators of music appreciation included factual knowledge, listening skills, and attitudes. Attitudes were assessed via a Music Attitude Questionnaire, and factual knowledge and listening skills were assessed via a final achievement test. Participants included intact groups of students in two separate classes of a college music appreciation class (N = 110). The researcher taught and tested one class according to a traditional approach, using the textbook Music: An Appreciation (Kamien, 2008) and taught and tested the other class according to an attentive, listening-based approach, utilizing the text Take Note: An Introduction to Music Through Listening (Wallace, in press). Gordon's Advanced Measures of Music Audiation (1989) was administered to all participants at the beginning of the semester. A researcher-designed Music Attitude Questionnaire was administered to all participants as a pretest/posttest and an identical, researcher-designed final achievement test was administered to all participants at the end of the semester. Analysis of variance on participants' final achievement test scores indicated that there was no significant difference between the classes in the areas of factual knowledge and listening skills. Data from the Music Attitude Questionnaire were first subjected to principal components analysis (PCA) followed by independent samples t-tests on participants' posttest responses to questionnaire items identified as reflecting underlying components in PCA. Results of the t-tests indicated no significant difference between the two classes. The sociological implications of music appreciation courses are discussed and suggestions for future research are provided.
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Bonneville-Roussy, Arielle. "There is accounting for taste : determinants of musical taste in adulthood." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708330.
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Custer, Robert S. "Effect of passive classroom listening on students' preferences toward classical/concert music /." Licensed for access by UF students, faculty, and staff (and others in a UF library), 2003. http://wwwlib.umi.com/cr/ufl/fullcit?p3117317.
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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.
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Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction." Thesis, The University of Sydney, 1999. http://hdl.handle.net/2123/361.
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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.
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Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction." University of Sydney. Music Education, 1999. http://hdl.handle.net/2123/361.
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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.
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Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.
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Thesis (D.M.A.)--University of Oregon, 2002.Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.
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McCabe, Melissa Christine Parisi Joseph. "Learning together online an investigation of the effect of collaborative instruction on students' demonstrated levels of cognition and self-reported course satisfaction in an online music appreciation course /." Diss., UMK access, 2007.
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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2007."A dissertation in music education and education." Advisor: Joseph Parisi. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 2, 2008. Includes bibliographical references (leaves 132-176). Online version of the print edition.
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Wolf, Motje. "The appreciation of electroacoustic music : an empirical study with inexperienced listeners." Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.
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The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was based on concepts distinguishing between electroacoustic music using (mainly) real-world sounds and generated sounds. The curriculum is presented in an online learning environment with an accompanying teacher’s handbook. The learning environment represents the prototype for the pedagogical ElectroAcoustic Resource Site offering online learning, blended learning and classroom-based learning. The website was developed following user-centred design; the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester. In five lessons music using real-world sounds (soundscape and musique concrète) was introduced, which included the delivery of a listening training, independent research and creative tasks (composition or devising a role-play). The teaching design followed the methods of active, collaborative and self-regulated learning. Data was collected by using questionnaires, direct responses to listening experiences before and after the teaching, and summaries of the teaching written by the participants. Following a Qualitative Content Analysis, the results of the study show that the participants’ appreciation of electroacoustic music changed during the course of these lessons. Learning success could be established as well as a declining alienation towards electroacoustic music. The principal conclusion is that the appreciation of electroacoustic music can be enhanced through the acquiring of conceptual knowledge, especially through the enhancing of listening skills following the structured listening training as well as the broadening of vocabulary to describe the listening experience.
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Williamson, Susan J. "My music : the music making and listening experiences of seventh and eighth graders not enrolled in school music ensembles /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11218.
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Williamson-Urbis, Sue Zanne. "The effect of two methods of music instruction on the degree of liking and musical knowledge on non-music majors enrolled in music appreciation classes." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187447.
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The primary purpose of this study was to compare the effects of icon-based listening outlines and language-based listening outlines on the degree of liking scores and musical knowledge scores of nonmusic majors enrolled in music appreciation courses. A secondary purpose was to examine interactions between the methods of instruction and the students' age, gender, teacher, and primary language with the dependent variables of degree of liking and musical knowledge scores. One-hundred and ninety-seven university undergraduates enrolled in six intact music appreciation classes served as subjects for the twelve week study. Three instructors, each teaching two intact music appreciation classes, taught both methods. The study used a pretest/posttest two group experimental design to answer fourteen research questions. The results indicated that degree of liking scores and musical knowledge scores significantly improved between the pretests and posttests regardless of method of instruction. Results also revealed a significant interaction between method and time of test for both degree of liking and musical knowledge. Students using icon-based listening outlines showed a greater increase in degree of liking scores and musical knowledge scores from pretest to posttest than the students using language-based listening outlines; however all increases were slight. Results also revealed significant interactions among teacher, primary language, and musical knowledge scores and among teacher, method of instruction, and musical knowledge scores.
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Begnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.
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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.
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Stiller, Barbara. "Erlebnisraum Konzert : Prozesse der Musikvermittlung in Konzerten für Kinder /." Regensburg : ConBrio, 2008. http://d-nb.info/986203424/04.
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Johnson, Stephen. "Hecate nocturne : for large orchestra." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.
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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
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Dwyer, Edward J., P. H. Scott, and E. M. Dwyer. "Fostering Appreciation of Diversity and Enhancing Learning by Integrating Reading and Music." Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/3338.
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Wong, Hock-wei Wendy, and 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
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Chan, Chor-shan Sharon, and 陳楚珊. "Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.
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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy
Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the
text was then translated into Latin. Le speaker speaking in the audience’s native
language with a detached voice is added to the opera-oratorio to narrate the events
of the story throughout. With its mixed genres, the juxtaposition of the dead
language and the vernacular, the contrast of the spoken word and the music
performance, and the intertexual references in the music, a strong dialectical
tension is created.
This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex.
For a very long time, literature on Oedipus Rex has mainly focused on the
presentation of its music. However, as an opera-oratorio, Oedipus Rex is
composed to stage. This study aims at investigating the theatrical significance of
the work, for its theatrical presentation is influential and profound in 20th century
music theatre. Of particular note is the use of le speaker. The narration inserted in
between each musical episode creates a sense of ambivalence in the storytelling.
The work is therefore a bold challenge to the way stories have been told in theatre
over the past centuries.
The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s
film version of Oedipus Rex in 1992. With Japanese elements infused in the work,
the dramatic tension between the spoken word and the music performance is
further polarised. This production is an example of how a combination of the
spoken word and the music performance pushes the Oedipus story further away
from Sophocles’ original.published_or_final_version
Music
Master
Master of Philosophy
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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Lessoil-Daelman, Marcelle. "Une approche synoptique des motifs et des modules dans la messe parodique /." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82914.
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This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models.The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
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Fromm, Mark Stanley. "Acheron, river of woe : for wind symphony." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99559.
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Acheron, River of Woe is a large-scale piece for wind symphony accompanied by an analytical thesis. It is a single-movement programmatic piece lasting twelve minutes scored for a wind symphony consisting of three flutes (one doubling piccolo), two oboes, English horn, two bassoons, contrabassoon, E-flat clarinet, three B-flat clarinets, A clarinet, bass clarinet, contrabass clarinet, four saxophones, four trumpets, four horns, two trombones, bass trombone, euphonium, tuba, string bass, timpani, and three percussionists. This piece represents a journey on the River Acheron, inspired by quotations taken from several Greek poets of antiquity. The entire piece flows as one long, fluid stream of music, with different sonic currents, waves, and eddies moving through it. Modal theory governs its harmonic structure and is the foundation of the piece.
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Chang, Yuli 1982. "Poetic afterthought : seven pieces for orchestra." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.
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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.
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Groven, Marielle 1984. "The ghost in the machine /." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116133.
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The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax point. The shape of this density envelope is reflected on smaller scales that operate at various levels of the music, all of which are discussed in detail in the analysis part of the thesis. These density envelopes are used as a means of structuring the listening process over the course of the piece.
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García, de la Torre Mauricio 1976. "Cachalote." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.
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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.
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Britton, Eliot. "Codecs." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116135.
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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process.Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor.
Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.
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Liu, Lai Ying. "Description as a transmedial mode of representation and its potential in instrumental music explored through a study of musical work inspired by paintings." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/77.
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Among various forms of art, music (and instrumental music in particular) is said to be the least descriptive art form, owing to its limitation with respect to hetero- referentiality--the ability to refer to things outside itself. However, in view of the impreciseness current in the definition of musical description itself, as well as a lack of case studies in understanding the modes of representation of descriptive music, there remain some questions about the fundamental nature and the potential of music as a medium of description. These questions will be raised and explored in this dissertation. It is particularly interesting that, while description is distinguished from narration in literary studies, in the past musicologists have often treated the two categories as one; thus, I posit that this ambiguity might blur our understanding of some aspects of the medial nature of music. By looking at semiotic features of music, I study how these features operate in delivering descriptive content through the analysis of programmatic music of various types. Their roles in developing the descriptive potential of music are also explored here. Building on theoretical studies by Werner Wolf, and the concepts of semiologists such as Ferdinand de Saussure and Charles Sanders Peirce, I discuss three musical cases: Franz Liszt’s piano work, Sposalizio (inspired by Raphael’s Lo Sposalizio della Vergine), Ottorino Respighi’s Trittico Botticelliano (inspired by three of Sandro Botticelle’s paintings), as well as Sergei Rachmaninov’s The Isle of the Dead, Op. 29 (inspired by Arnold Bocklin’s Die Toteninsel). The research presented here seeks to reveal how musical signs describe the elements of the painting, as well as how they gradually acquire their own symbolic meaning that, in turn, ultimately allows them to transcend the visual images, and operate to present the inner content of the painting, as expressed by either the painter or the composer towards the pictorial artwork.
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O'Neal, Thomas John. "Timbre as a compositional device in selected band repertoire since 1950." Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186166.
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Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.
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Von, Holtzendorff Peter. "A parametric integration model for the analysis of late Baroque music : a tentative approach." Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=20185.
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In four pieces selected from the late Baroque repertoire, the "Allemanda" from Corelli's Sonata for Violin and Continuo, Opus 5, No. 8, the "Allemande" from Bach's Clavierubung, Partita, No. 1, the chorus, "Thy Right Hand, Oh Lord" from Handel's Israel in Egypt, and the aria duetto, "Mein Freund ist Mein" from Cantata No. 140, Wachet Auf, by Bach, harmonic, melodic and motivic parameters are analysed and graphed so that their integration in each work is readily observable. Then, in an attempt to establish more general formal models similar to those developed by Arnold Schoenberg, Erwin Ratz, and William E. Caplin for the classical style, recurring patterns of integration are noted. Of special significance is the prominence of acceleration processes in each piece and their diversity, both in the parameters involved, as well as in the structural levels on which these processes operate.
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Bodley, Derrill George. "The development and testing of an interactive listening guide system for instructors of music appreciation." Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/2606.
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This study examined the effectiveness of a researcher-designed, computer-based, interactive listening guide system for use by instructors of music appreciation courses. The system was designed to control audio compact discs and present coordinated graphic displays describing musical events as they were heard. Its effectiveness was examined by comparing student outcomes of two subject groups, one exposed to the interactive system in one section of a music appreciation course and another exposed to traditional materials (audio compact disc player, textbook, and writing on the board) in another section of the course. In the first part of the study (“instructional effectiveness”), outcomes were quiz scores and attitudes toward instruction; in a second part of the study; in a second part of the study (“transfer of learning”), outcomes were the quality of student-generated listening guides based on music of their own choice and attitude toward this activity. Results indicated that although there was a marked difference in the reporting of enjoyment of the instructional experience between treatment and control groups, there was no significant difference in any of the product outcomes, such as quizzes or student-generated listening guides. Additional opportunities to examine and compare the effects of the two different modes of instruction over longer periods of exposure is one of nine recommendations for further research reached as a result of this study.
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Adamcyk, David. "Balbuzard : for solo clarinet, wind symphony and electronics." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111504.
Full textAbstract:
Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.**This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
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Winter, Philip Graham. "The Development and Pilot Testing of a Music Quality Rating Test Battery for New Zealand and Australian MED-EL Cochlear Implant Recipients." Thesis, University of Canterbury. Communication Disorders, 2010. http://hdl.handle.net/10092/4538.
Full textAbstract:
Many cochlear implant (CI) recipients report the sound quality of their devices to be poor, for listening to music. The latest MED-EL speech processing strategy, Fine Structure Processing (FSP), aims to improve sound quality by encoding some of the low-frequency fine structure (FS) information.
The goals of this study were twofold. The first was to develop a music quality rating test battery (MQRTB) for the New Zealand and Australian populations using commercially available songs. The second was to pilot test the MQRTB in a study comparing the MED-EL speech processing strategies FSP and High Definition Continuous Interleaved Sampling (HDCIS) for music appreciation. The research questions for the second part of this study were: (1) Does familiarity with a speech processing strategy affect musical quality ratings?; (2) Do CI recipients notice a significant difference between FSP and HDCIS when listening to music and if so, what aspects of the sound are different?; (3) Does song familiarity affect the quality ratings of music in CI recipients?; (4) Does music genre affect the quality ratings of music in CI recipients?
The MQRTB used visual analogue scales for the attributes of pleasantness, naturalness, richness, fullness, sharpness, and roughness while listening to a home stereo. The scales were displayed on a computer touchscreen with the stimuli being presented via a home stereo system. There were ten songs in the MQRTB; a familiar and obscure song from each of the following genres: classical, modern, country and western, and common (such as a national anthem or iconic melody) genres, as well as two of the participant’s favourite songs.
Five post-lingually deafened MED-EL SonataTI100 or PulsarCI100 CI recipients using the FSP strategy took part in the FSP versus HDCIS comparison study. Each participant spent three weeks acclimatising to either FSP or HDCIS before completing speech perception testing and the MQRTB task. Following this the participants were switched to the other speech processing strategy to acclimatise to for a further three weeks before re-assessment with the second strategy. At the conclusion of the study, the participants’ speech processors were returned to the pre-study settings.
The results of the study showed an effect of acclimatisation on music quality ratings; when the participants were acclimatised to FSP, the group tended to prefer FSP; however, when acclimatised to HDCIS, the participants did not prefer HDCIS. As a group they rated FSP to sound closer to ‘what they would like music to sound like’ than HDCIS, and that HDCIS sounded significantly sharper and rougher than FSP. This suggested that music appreciation was better with FSP, but participants needed to be acclimatised to the strategy first. No effect of familiarity or genre was observed in the averaged group data, however, effects for some individuals were noted.
Overall it would appear that FSP may improve music sound quality for some MED-EL CI recipients, however, it does not solve this issue. The MQRTB was also shown to be an effective tool to assess some aspects of music sound quality.
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Cooper, Alan. "Making the weather in contemporary jazz : an appreciation of the musical art of Josef Zawinul." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/366837/.
Full textAbstract:
Josef Zawinul (1932-2007) holds a rare place in the world of jazz in view of the fact that as a European he forged a long and distinguished musical career in America. Indeed, from a position of relative obscurity when he arrived in New York in 1959, he went on to become one of contemporary jazz’s most prolific and commercially successful composers. The main focus of this dissertation will be Zawinul’s rise to prominence in American jazz during the 1960s and 1970s. In this vital period of his creative life he is associated with a variety of jazz contexts: performing with Julian ‘Cannonball’ Adderley’s band as a hard bop pianist in the early 1960s; developing new approaches as a composer and keyboard player for Adderley’s group during the ‘soul jazz’ period (1966 to 1969); recording independently under his own name (1966 to 1970); collaborating with Miles Davis in the late 1960s and early 1970s; and co-founding the influential contemporary jazz ensemble Weather Report (early 1970s onwards). Most significantly, he was a key figure (both as a performer and composer) in the new electro-acoustic jazz that emerged in the mid-1960s and his unwavering commitment to this hybrid idiom has left a substantial and wide-ranging body of work. Given the impact and scale of Zawinul’s contribution to contemporary jazz in the second half of the twentieth century, it surely prompts the question: why has there been a dearth of scholarly discussion concerning his artistic legacy? With the aim of rectifying this omission, it is hoped that this dissertation will therefore go some way towards bringing long overdue critical engagement with his music. To this end, this study will examine a selection of Zawinul’s mature works and attempt to explicate not only the diverse range of influences (musical and cultural) that were essential to his artistic development but also the nature of his aesthetic eclecticism from which he created an individual compositional language.
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Zenker, Renate Andrea Ruth. "Music appreciation and education." Thesis, 1994. http://hdl.handle.net/2429/5005.
Full textAbstract:
There are many aspects of music education which require
a firmer conceptual basis for their implementation in the
school system, especially since questions about the necessity
of music education itself have been raised throughout the
history of education in Canada. In my thesis I address the
question: What does it mean to appreciate music? I examined
conceptual research on music appreciation, but discovered that
as a body of literature it failed to present a coherent
conceptualization of music appreciation. The bulk of my thesis
consists in a careful conceptual unpacking of music
appreciation and the related notions of listening and hearing,
conceptual apparatus and expression in music. To determine a
sense of music appreciation which is educationally relevant,
I begin with a conceptual analysis of appreciation and
determine its relationship to the complex nature of music. The
epistemological sense of appreciation focuses on evaluation of
music based in knowledge of its structure and its ability to
express something to us through that structure. This is
achieved through listening to music with a reflective
conceptual apparatus which allows us to hear the music in such
a way that we can ascribe value to it and in the most
sophisticated forms of music appreciation, justify our value
claims by articulating what we hear. In the final chapter, I
discuss the educational implications of my conception of music
appreciation and areas for future research.
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Lu, Chih-Ming, and 盧志銘. "A Study of Infant Music Appreciation Guide." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/99619436307475275633.
Full text
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Cheng, Heng-Yi, and 鄭恆毅. "The Research of Teaching Fifth-Grade Incidental Music Combined Music Appreciation." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/51215120124840694230.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
103
The Research of Teaching Fifth-Grade Incidental MusicCombined Music Appreciation. The research examines the educational evaluation of Music appreciation courses about the abilities of choosing incidental music of dramas, as well as the problems and tasks that teachers may encounter and how they fis their music teaching to the solutions. The research method includes: second-hand research document; the survey of students leaning achievements and analysis on it. In addition to gathering the relevant documents as well as the materials and discussing related researches about how to arrange appropriate music for dramas, the value of music teaching for these students choosing the appropriate music for the drama is presented as the reference to the elementary school teachers through the analysis of the worksheets, the analysis of students’ self-evaluation, the observation and introspection of teaching process, and the reaction of students. With the fifth grade students of the Taichung City Wen-Shan elementary school as the sample for all, the field study lasts up to twenty weeks with 40-minute teaching session per week in a totoal of twenty teaching sessions. The conclusions to the discoveries and results of research are as follow: 1. The students can develop their social skill and find the pleasure within the performance. 2. Interaction between teachers and students become more frequent. 3. Enhance the cognitive of music and drama relationships for Fifth grade students. 4. By applying the teaching of music appreciation combined incidental music, it is reinforced for the concepet and the ability of figuring out the appeopriate music for a drama. Finally, the limitations to this research is proposed with its possible solutions for the music educators, and the prospect researchers according to what has been encountered during this study
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Wan, Morning, and 萬孟琳. "Influences of Music Appreciation Applied Popular Music to Students’ Music Learning Interests and Achievement." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/39836806449773215877.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
97
The purpose of the study aimed to explore the influences of popular music applied in music appreciation to students’ learning interests and achievement. The experimental design was used and 127 5th gradres were sampled from Tai-Pin Elementary School in Taichung County. Popular music was applied in music appreciation as treatment for experimental group, while the regular course was taught for control group. The researcher-developed instruments for assessing learning interests and achievement were administered as pre- and post-tests. After ten-week experiemental teaching, quantitative data were collected and analyzed through Statistical Software SPSS. Dependant t-test and ANCOVA were executed to test the significant differences in learning interest between variables. Independent t-test and ANOVA were used to compare control and experimental groups in Music Learning Achievement Test. Finally, the experimental results were summarized as followings. In learning interest, the results indicated that the experimental group had more interests than control group after experimental courses. However, there was no significant effect between genders, groups, students with pop music experience, instrumental learning experience, and students who attended music clubs or not. In music achievement, the results indicated that the experimental group contributed significantly higher achievement than control group after experimental courses. There was no significant effect between genders, groups, and students with pop music experience. However, the students who had instrumental learning experience or attended music clubs achieved higher scores in Music Achievement Test. Based on the results, recommendations were made to music teachers and future research.
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Matsumoto, Akiko. "Emotion Recognition Education in Western Art Music Appreciation." Thesis, 2021. https://doi.org/10.7916/d8-g08a-ra67.
Full textAbstract:
Because Western art music is harmonically more complex than popular music and because it is written with musical notation, it may be challenging for certain people with no music training (non-musicians), those who did not grow up with Western art music, or those who did not choose to listen to this type of music for enjoyment to understand and appreciate it. Furthermore, there is a prevalent belief that Western art music is for the wealthy and elderly. This belief may be preventing symphony orchestra groups from cultivating new audiences. This study aims to determine if a narrative music listening activity would generate emotional response and cognitive engagement in a study group of non-Western art music listeners and prompt them to create musical narratives. Theoretically, narrative form music listening may present episodic memories, which can be built up into stories.
To test the effect of narrative music listening activities, an online survey was distributed to non-Western art music listeners in the 20 through 40 age range, and pretest–treatment–posttest activity was devised and administered to three groups, an absolute music listening group, a programmatic music listening group, and a polyphonic texture listening group. In the treatment section, the creative listening activity, participants were prompted to create musical narratives, which take the form of colors, shapes, dialogues, or explicit stories. Participants were then asked to write about the music they heard before and after the narrative music listening activity. Participants’ motivation to attend a Western art music concert was assessed via a motivation scale using Likert scales. The results suggest that this online activity’s multimodality was a promising method for enhancing the appreciation of Western art music.
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yu-line, Lin, and 林于琳. "THE TEACHING OF EURHYTHMIC MUSIC APPRECIATION ON THE AESTHETIC SENSIBILITY FOR MUSIC." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/69585853386873239460.
Full textAbstract:
碩士國立新竹教育大學
進修部音樂教學碩士班
93
Abstract The purpose of this research is to examine the aesthetic sensibility of music for primary students. First, evaluate the development of the aesthetic sensibility of music in the fifth graders through the test. Then, make it as the center idea, to design the corresponding courses. The methods used in this research include theory analysis, the experimental study and the observation. The results of this research are summarized as follows: 1. The development of the aesthetic sensibility of music for the fifth graders is mainly based on the “subjective preference” and the “beauty and reality”. Furthermore, there is no significant difference between boys and girls about the aesthetic sensibility of music. 2. Experiment teaching The experimental teaching is practiced on the fifth graders of a primary school at Taichung City. There are one experimental group（N=36）and one control group（N=37）in the experiment. The experiment group takes the teaching of “eurhythmic music appreciation” and the control group adopts “narrative music appreciation”. After 16 lessons, the following results are made: (1) The teaching of eurhythmic music appreciation promotes the aesthetic sensibility of music for primary students, which is more efficiently than the teaching of narrative music appreciation. (2) The teaching of eurhythmic music appreciation advances the attitudes of music appreciation and the interests of primary students. (3) The aesthetic sensibility of music for primary students is changed with the mutual interaction of group and genders. (4) There is positive correlation between the learning attitudes for class and the musical sensibility of aesthetics for students. According to the research, the author proposed some suggestions for the educational administration, educational strategies maker, music teachers and educators or researchers.
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Lee, HO. "Listening to music : the development of a technique to evaluate the quality of responses to music using the SOLO taxonomy." Thesis, 1991. https://eprints.utas.edu.au/20315/1/whole_LeeHelenOriel1991.pdf.
Full textAbstract:
Music Education throughout the world recognises three main areas of activity : Listening, Performance and Composition, and requires that they all be evaluated effectively. This study, which began as an attempt to devise an effective evaluation tool for moderating standards in the Listening area between schools, has developed an evaluation technique for assessing written responses to music which can be used for any type of music in any classroom situation. It does not separate music listening experiences into separate elements but deals with the total gestalt of the listening to music experience.
The test used in developing the technique consisted of three extracts from music written for orchestral instruments which were played three times to students (Grades 7-10, aged 12-16) An open ended question was set to which students gave a written response in their own words. Responses were analysed for the musical elements mentioned and levels of thought were revealed using the SOLO Taxonomy.
The SOLO Taxonomy (Biggs and Collis 1982) provides a mechanism to evaluate the quality of learning by examination of the Structure of the Observed Learning Outcomes (SOLO). Student responses to classroom tasks are classified into five levels of increasing complexity of thought : Prestructural, Unistructural, Multistructural, Relational and Extended Abstract. The most complex level, Extended Abstract, is a recognition of new, flexible, original thinking. Each of the levels reveals a new stage in comprehension of the implications of the task and of thinking about it, and they can be applied to almost any topic. In order to stimulate the higher levels, Relational and Extended Abstract, problems must be devised which do not have instant one word solutions, but which require the activation of deeper thought processes through recall of previous knowledge, comparison, discrimination, recognition, clarification, classification, review and restructuring of knowledge.
Trials of the test materials were made in a one year Pilot Study, and 328 students in two Tasmanian High Schools tested in the three year Main Study produced 1260 individual responses. Some students were tested twice, and after SOLO-based tuition, a small group was tested for a third time. The influence of Written Fluency, Music Listening Ability, Performance ability and Motivation upon responses was examined. Comparisons were made with response assessments by nine experienced Music teachers, who also classified responses into SOLO levels.
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Dunn, Robert Edwin. "Perceptual modalities in music listening among third-grade students." 1994. http://catalog.hathitrust.org/api/volumes/oclc/37421832.html.
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Lee, Tzu-Fan, and 李竾樊. "Content Analysis of Music Appreciation from the 10th Grade Music Textbook in Taiwan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/j758f5.
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Liu, Yan-Lun, and 劉燕倫. "The Theory and Application of Program Music and Absolute Music for Music Appreciation Teaching in Elementary School." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/47552432654005082556.
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Tz-Wei, Li, and 李姿薇. "A Study of Multicultural Music Applied in the Music Appreciation Instruction for Third-graders." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/78914960233968081857.
Full textAbstract:
碩士國立臺中教育大學
教師專業碩士學位學程
102
This thesis explored the effects of multicultural music applied into the music appreciation instruction for third- graders. The teaching strategies were designed according to "Music Appreciation Instruction." In order to achieve the objectives of the study, this study built up theoretical basis through literature review, and action study was employed as research method. Research tools included researcher-developed “Multiculture Self-assessment Sheets,” “Observation Sheet,” “teacher journals, ” and so on. Research participants were eighteen third-graders from an elementary school in Taichung City. As a pilot study, researcher amended teaching strategies and curriculum design based on discussion of music teacher and scholars. In addition, the researcher did semi-structured interviews with the classroom teacher and music teacher to understand the experiences of music learning, multicultural music experiences, individual differences, classroom management and family backgrounds of research participants. The research teaching took ten weeks. Five songs were chosen based on literature review. Taiwanese folk song“Tau hue,”Korean folk song“Arirang,”Japanese folk song“Sakura,”Mexican folk dance“La Raspa,”and Taiwanese aboriginal folk song“Fishing song.” In addition, after action teaching plan, Multiculture self-assessment sheets were used to assess participants’ learning attitude. In order to improve the validity of the study, triangulation was employed. Conclusions of this study were as follows: 1. The implementation of multicultural music applied into the music appreciation instruction was successful. (1) Multicultural music teaching based on the goals could be easily followed. (2) The curriculum content of multicultural music could arouse participants’ interests easily. (3) Participants had positive attitudes toward learning in multicultural music teaching. 2. Researcher was able to use strategies resolving the difficulties and problems by reflecting on multicultural music applied in the music appreciation instruction. (1) Flexibility of activity time use would lead the teaching procedure more smoothly. (2) Improvement of demonstration and instruction would higher the teaching efficacy. (3) Adjustment of grouping and questioning would higher the participation. 3. Participants learning had good outcomes in multicultural music applied into the music appreciation instruction. (1) The application of multicultural music materials in the music appreciation would make the participants learn well. (2) The application of multicultural music in the music appreciation promoted the participants’ learning outcomes on music elements. (3) The various interventions in multicultural music instruction would lead the participants’ positive learning results. (4) Multicultural music instruction could improve the participants’ learning of multicultural knowledge. (5) Multicultural music instruction could cultivate the participants’ multicultural attitude. At last, there were a few suggestions followed by the conclusions according of research. This study provided teachers ideas on multicultural music teaching program as well as research references.
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Wang, Pin-Fang, and 王品方. "A Case Study of Experienced Music Teachers’ Music Appreciation Teaching Practice in Elementary School." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/48092733960202663700.
Full textAbstract:
碩士國立臺灣師範大學
音樂學系
104
The purpose of this study was to understand that two experienced music teachers’ viewpoints about music appreciation instruction and teaching practice in elementary school. A qualitative case study was utilized in this study. The research data were collected by interviewing and observing two senior music teachers in elementary school in Taipei. After analyzing the collected data, the major findings of this study were as follows: 1.Two experienced music teachers all agree that the range of music appreciation is broad. Besides cognition, but also includes skills in learning. Through active and inactive teaching activities, it can lead students to experience the beauty of music, and to cultivate their interests. 2.Different teachers in the teaching practice, have their own teaching characteristics. Two teachers were good at using "question", "discussion", " lecture" and "comparative appreciation" approach to lead students to listen. Besides above, teacher Sun also used another methods, such as "text", "theater", "videos" to assist students. Second example, teacher Fish used different methods, such as "text", "visual image", and "body movement" to help students more in-depth experience of music. Based on the findings above, the researcher would propose relevant suggestions for music teachers and provide these outcomes for future research studies.
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Chiashi, Makiko Standley Jayne M. "The effect of song translation vs. non-native original language performance in Japanese on emotional response of Japanese participants." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-12062006-230735/.
Full textAbstract:
Thesis (M.M.) Florida State University, 2006.Advisor: Jayne Standley, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-21-2007). Document formatted into pages; contains 48 pages. Includes biographical sketch. Includes bibliographical references.