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Boleslawska-Lewandowska, Beata. "Symphony and symphonic thinking in Polish music after 1956." Thesis, Cardiff University, 2010. http://orca.cf.ac.uk/54346/.
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This thesis aims to contribute to the exploration and understanding of the development of the symphony and symphonic thinking in Polish music in the second half of the twentieth century. This was a period when Polish composers, such as Lutoslawski, Grecki and Penderecki, among others, contributed profoundly into the symphonic repertoire, not only in the Polish context but worldwide. To understand the changes and developments of the genre after 1956 in Poland, it is necessary to discuss the evolution of the symphony, as well as its role and functions, both in general and in Polish music. Therefore, Chapter One deals briefly with the history and theory of the genre, from its beginnings in the eighteenth century, through its transformations in the period of Romanticism, marked by the appearance of the concert overture and the symphonic poem until its developments in the twentieth century. Chapter Two examines the symphonic tradition in Poland from its appearance on the Polish musical scene until the middle of the 1950s in the context of trends pointed out in Chapter One. The year 1956, when the first International Festival of Contemporary Music 'Warsaw Autumn' was held, provides a significant caesura, as it was then that Polish music entered its avant-garde period. Chapter Three, which is the most extended, explores the transformation of the symphony and symphonic principles in the years of the musical avant-garde, which was a time of great artistic ferment in Polish music, bringing many interesting reinterpretations of symphonic features. The symphony as a genre was almost entirely neglected, particularly in the first years of musical avant-garde (1956-65), and the elements of symphonic thinking appeared in other orchestral works. Therefore, a considerable amount of space will be devoted to discussing the symphonic music of the period, besides symphonies as such. The avant-garde period is given special attention as the innovations made by Polish composers, both in symphonic form and, even more, in musical language and techniques (particularly sonorism), hugely influenced the later development of symphonic music in Poland. Chapter Four, concluding the thesis, is devoted to the trends which spread over the country from the middle of the 1970s, opening the post-avant-garde era, with its recreation of the large-scale symphony, as well as the symphonic poem, referring back to the late-Romantic traditions on the one hand and aiming to synthesise the experiences of the whole century on the other. The indicated trends and functions of the symphony in this period link back to the categories marked in Chapter One. A short Postscript gives some information on symphonic activity in Poland following the death of Lutoslawski in 1994.
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Chlopicka, Regina. "Links between Penderecki's Music and the Polish National Tradition." Gudrun Schröder, 2004. https://ul.qucosa.de/id/qucosa%3A21346.
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Boczkowska, Ewelina. "Sites of remembrance music and memory in Polish film /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1973844971&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Godula, Olga. "Echoes and memories of Poland music and dance in the Polish community of Toledo, Ohio /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1213008130.
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Tatar, Jeremy Piotr. "Occupied Memory: Polish Composers and German Music after the Second World War." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/17912.
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The occupation of Poland by Germany and the Soviet Union during the Second World War had profoundly negative impacts on Polish cultural life. Although conflict ostensibly ended in 1945, the ensuing four decades of communist rule proved just as devastating. Until now, much of the discourse on Poland has concentrated on the effects and legacy of Communism, while consideration of the ‘German question’ has largely been neglected. Using the composers Witold Lutosławski (1913–1994) and Henryk Górecki (1933–2010) as case studies, this thesis focuses on the web of musical interactions between Germany and Poland in the decades following WWII, tracing how these composers came to terms with the music of their occupiers. The investigation is driven by questions intersecting with issues of memory, aesthetics, and national identity: what were Lutosławski and Górecki’s attitudes toward pre-war German music? Did they have similar responses to post-war German music? How were they able to face these problems against the backdrop of Soviet hegemony? Above all, the fundamental debate over music’s ineffable, abstract qualities persists: to what extent is music (and art in general) able to transcend messy cultural concerns, and remain untainted by political events? In asking these questions, I probe the complex artistic landscape of mid-century Eastern Europe, along with music’s specific role in this process of negotiation. Both composers responded quite differently to Poland’s cultural landscape after 1945. Lutosławski retreated into abstraction and sought refuge in realms of music deemed absolute, while Górecki, on the other hand, moved in the opposite direction toward a musical style grounded in the here-and-now, and tethered umbilically to concerns of the everyday. Also telling are the similarities between them: a shared love of Bach and Viennese Classicism, a more equivocal relationship with Schoenberg and his followers, and an underlying, deeply wrought humanism.
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Parham, Blake. "The Invisible Man: Roman Palester and his Place in Post-war Polish Music." Thesis, University of Sydney, 2020. https://hdl.handle.net/2123/23000.
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Roman Palester (1907 –1989) was as one of the most promising and well-known composers in Poland during the inter-war period. Yet, following the creation of the Polska Rzeczpospolita Ludowa [Polish People’s Republic] (PRL) between 1945-52, the tightening of political control over art in 1949, and Palester’s defection to the West in 1951 he has all but disappeared from Polish musical life. This study seeks to address Palester’s absence from the musical scene by exploring how Palester, as a composer in exile, negotiated the politics of the Cold War in both Eastern and Western Europe, and what effect this had on his life, career, and music. This will be achieved by tracking Palester’s life from his early years as a student in Warsaw, through the Second World War, the instigation of a communist regime in Poland, his defection to France and later Germany, his work at Radio Free Europe (RFE), and his brief reintroduction to Poland in the 1980s. Palester’s evolving compositional voice will also be examined: exploring his use of neoclassicism, his brief foray into folklorism, the development of his own form of twelve-tone technique, experimentation with ‘limited aleatorism’, expressionist tendencies, and attempts to synthesise these various techniques into a singular compositional voice. This will be achieved by critically discussing a select number of Palester’s pivotal musical works: Psalm V, Requiem, Symphony No. 3, Preludes for Piano, La Mort de Don Juan, and Symphony No. 5. The findings of this study show that the unique political environment of the Cold War and Palester’s exile had a profound impact on his career and reception but suggest that his musical style was shaped primarily by his own artistic principles.
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Nies, Carol. "STRUCTURAL ISSUES IN LUTOSLAWSKI'S SYMPHONY NO. 4." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin991311116.
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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.
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Bruce, Amanda P. "Constructed and Manifest Truths in Music for Andrzej Wajda's Man of... Film Trilogy." Youngstown State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ysu15280135787607.
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Godula, Olga Dominika. "Echoes and Memories of Poland: Music and Dance in the Polish Community of Toledo, Ohio." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213008130.
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Maslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966." Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.
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Chilvers, Alex. "A Portfolio of Compositions in Response to a Study of the Aesthetic Function of Folklore in Modern Polish Music." Thesis, The University of Sydney, 2019. http://hdl.handle.net/2123/20288.
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There is an overwhelming tendency for scholars of Polish music to politicise the presence of folk music references when they appear in art music compositions. This has particularly been the case in studies of Frédéric Chopin, where certain myths pertaining to that composer’s extramusical intentions long dominated how his music was unpacked in musicological discourse. In this thesis, I demonstrate that our understanding of later Polish composers suffers similarly from this tendency. In an examination of the discourse surrounding both Karol Szymanowski and Henryk Mikołaj Górecki, I show that a myopic understanding of the compositional possibilities bound up in folk music engagement has limited the scope of our interrogations into their compositional practices. I then reposition folk music as an aesthetic tool in their works that has enabled these artists to negotiate the compositional challenges confronting their respective generations. In addition to improving our understanding of these two composers’ methods, my analyses highlight how folk music models can lend a sense of familiarity and cohesion to the modern musical aesthetic. I then take these findings and define a framework for categorising the aesthetic function of folklore in modern Polish music. Turning to my own compositional practice, I analyse a portfolio of original works that have been influenced by my concurrent study of Polish composers and Polish folk music. With this I demonstrate how these categories of aesthetic function have enabled me to engage with a wide range of traditional sources, including Polish folk music, folk music from other cultures, and other non-musical artefacts of Polish culture. I further show that, within this breadth of historical sources, there exists a significant amount of aesthetic potential waiting to be unpacked by any modern composer who shares my goal to create music that is cohesive, conveys a clear musical narrative, and possesses a strong individual identity.
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Hebda, Paul Thomas. "Spółka Nakładowa Młodych Kompozytorów Polskich (1905-1912) and the Myth of Young Poland in Music." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331366/.
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This study deals with the four-composer Polish musical association, Young Polish Composers' Publishing Company, which became commonly known as the group Poland in Music. Young Poland in Music is considered by Polish and non-Polish music historians to be the signal inaugurator of modernism in Polish music. However, despite this most important attribution, the past eighty-odd years have witnessed considerable confusion over the perceptions of: 1) exactly who constituted the publishing company, 2) why it was founded, 3) what the intentions of its members were, and 4) the general reception its members' music received. This paper addresses and resolves this multiple confusion. Chapter I presents an introductory survey of the political, socio/cultural, and musical developments of Poland between 1772 and c1900, the period of the Polish Partitions through the beginnings of the "Young Poland" era. Chapter II presents a discussion of the facts surrounding the founding of the publishing company, as well as a discussion of the eighty-odd years of historical misinterpretations that have developed about the composers' company and its relationship to "Young Poland in Music." Chapter III discusses the interpersonal relationships of the composers and other persons directly involved with them and their company, and the impact that these relationships had on the publishing company. Additionally, the chapter brings into focus the specific relationships between the musicologist, Adolf Chybiński, the company, and its individual members. The chapter concludes with a discussion of the actual publishing activities of the company. Chapter IV examines the three concerts sponsored by the company and their critical receptions in Warsaw and Berlin through the surviving reviews and comments of leading contemporary music critics, the concert participants, the composers' close colleagues, and the composers themselves. Finally, Chapter V contains a brief discussion of the music presented on the three concerts, characterizing the works within the context of their initial critical reception.
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Choi, Yun Jung. "The use of the Polish folk music elements and the fantasy elements in the Polish fantasy on original themes in G-sharp minor for piano and orchestra, opus 19 by Ignacy Jan Paderewski." Thesis, Lecture recital, recorded Mar. 6, 2006, in digital collections. Access restricted to the University of North Texas campus connect to online resource, 2007. http://digital.library.unt.edu/permalink/meta-dc-3690.
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Nakielski, Christopher John. "A scholarly edition of Suita Maryjna, a Polish Marian suite for treble chorus, string quartet and two flutes, by Irena Pfeiffer." Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6228.
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This is the first published edition of Suita Maryjna (1987), a nine-movement Marian suite intended for three-part treble chorus, string quartet and two flutes composed by the Polish neoclassicist composer Irena Pfeiffer (1912-1986). The work was most likely intended for performance during Pope John Paul II’s pilgrimage to the Wawel Cathedral in Cracow, Poland in June 1987. It is structured according to a Marian prayer service known as the Jasna Góra Appeal, first prayed in the Jasna Góra Sanctuary in Częstochowa, Poland when the nation gained its sovereignty in 1918. The appeal was popularized by Pope John Paul II, who prayed it across Poland during his pilgrimages.
Following the 1987 pilgrimage, Pfeiffer sent a manuscript of Suita Maryjna to the Lira Ensemble, a professional ensemble in Chicago specializing in Polish music, song and dance. Pfeiffer played an important role in the Lira by serving as a long-distance artistic advisor and by providing co-founder and current artistic advisor Lucyna Migala with modern Polish compositions for nearly twenty-five years. Suita Maryjna became a cornerstone of the ensemble’s repertory and was performed frequently, including in a studio recording in 1996. This edition of Suita Maryjna is placed in the context of Pfeiffer’s career, with particular attention to her working relationship with Pope John Paul II and the Lira Ensemble. Moreover, it discusses how Suita Maryjna reflects archaism, one of several strands of Polish neoclassicism in which diverse styles from earlier historical periods are fused.
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Sutherland, Richard Francis. "Making Canadian music industry policy 1970-1998." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32522.
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This dissertation is a history of the development of the Canadian federal government's music industry policies from about 1970 to 1998. Over this period the government undertook a number of significant initiatives that mark the emergence of the Canadian music industry as a distinctive object of federal policy. The resulting account is not a single, linear narrative but unfolds in three separate but related streams, based on the following policies: Canadian content quotas for radio, the Sound Recording Development Program (a funding program to support the production and marketing of sound recordings), and revisions to Canada's copyright regime, such as neighbouring rights and a home taping levy. Each of these policies has a distinct history, originating in different areas of government at different times. Together, they do not form a consistent whole as much as an overlapping set of separate "policy assemblages," incorporating distinctive policy instruments and particular configurations of the Canadian music industry. Drawing on Michel Callon's work on the construction of markets, the dissertation explores the various ways in which the Canadian music industry enters into cultural policy through its associations with other extant policy formations. Canada's music industry appears in various roles in this history – as a supplier of programming for broadcasters, as a sector comparable to other 'cultural industries' such as film production and book publishing, and as the representative of the rights of artists and creators. Finally, the dissertation examines the ways in which these conceptions begin to cohere through the efforts of government and the industry representatiCe travail dresse un historique des mesures prises par le gouvernement fédéral canadien dans le domaine de l'industrie musicale, de 1970 environ jusqu'en 1998. Au cours de cette période, le gouvernement met en place plusieurs mesures décisives qui font de la production musicale un secteur spécifique de la politique fédérale. Le texte qui suit n'est pas un compte rendu chronologique; il s'organise en trois parties distinctes mais interdépendantes, qui recensent trois types de mesures : le quota de contenu canadien pour les programmes radiophoniques, le programme d'aide au dévelopement de l'enregistrement sonore (un programme qui finance la production et le marketing des enregistrements sonores), et les corrections apportées au régime canadien du droit d'auteur : droits voisins, droits à la copie pour usage privé. Ces mesures ont leurs histoires propres, nées à des périodes différentes dans des ministères différents. Considérées dans leur ensemble, elles ne forment pas un tout cohérent, mais plutôt une collection d'"agencements politiques", qui combinent procédures politiques et aménagements propres au secteur concerné, celui de la production musicale au Canada. S'inspirant des recherches de Michel Callon sur la construction des marchés, notre travail explore les différentes filières par lesquelles la production musicale canadienne a pris place dans la politique culturelle grâce à son association avec d'autres institutions déjà en place. L'industrie musicale canadienne joue plusieurs rôles dans notre travail : pour les diffuseurs, celui de fournisseur de programmes, pour les autres secteurs de la vie culturelle (cinéma ou édition), cel
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Brooke, Caroline Mary. "The development of Soviet music policy, 1932-41." Thesis, University of Cambridge, 1999. https://www.repository.cam.ac.uk/handle/1810/251475.
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Gilmore, Abigail. "Popular music in the city : an examination of local music scenes, popular music practice and cultural policy in the city of Leicester." Thesis, University of Leicester, 1999. http://hdl.handle.net/2381/30731.
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This thesis examines popular music in the city of Leicester. It looks at local popular music practice through the activities, values and structures of support associated with local music scenes and music industry. It explores the ways in which popular music contributes to city life through the activities of particular groups involved in the production and distribution of music in Leicester. It also considers how local governance structures influence and shape music practice through cultural policy and municipal government and regulation. Using the concepts 'music scene' and 'music community' I consider how participation in popular music in the city is organised around particular sites, activities, coalitions and alliances. The production and localisation of identities, values and economies through popular music practice are considered via case study and through examination of the relationship between public sector supported initiatives and different social and music communities. In particular, I focus on the ways in which popular music is thought to represent different social groups and how this representation is an important element of local cultural policy. The social function of popular music in marking and contributing to social and cultural identity (Frith 1987) is examined in the context of urban communities and identities, and in terms of its propensity to facilitate public celebration and display of diverse ethnicities in a multicultural city. I consider the history of provision for popular music and recent policy initiatives in Leicester in comparison to other examples of urban cultural policy, which are offered as a framework for considering different strategies for urban regeneration and animation through the popular music sector. In doing so, I question the relationship between cultural value and cultural policy and discuss issues associated with local music scenes and identities and the influences on local music policy and practice.
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Wang, Juan. "Classical music policy and practise in a British city." Thesis, University of Nottingham, 2011. http://eprints.nottingham.ac.uk/12935/.
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The argument in my thesis regarding cultural policy points out a fundamental contradiction about the nature of democracy. The impulse that should motivate public cultural policies is primarily democratic: it is to give universal access to what are deemed unique cultural practices. However, these practices are often socially and culturally inaccessible. For instance, in the case of the high arts and the world of classical music, works are often prized precisely because of their high degree of sophistication within a particular tradition, something that tends to prevent such works from being immediately understood or enjoyed by the general public. Therefore, it seems, an effective cultural policy is crucial to offer universal access to unique cultural practices, like classical music. Based on the theoretical work of Jim McGuigan (drawing upon Habermas's notion of the public sphere) and of Tony Bennett (drawing upon Foucault's notion of governmentality), my research starts at a local city level in a British context, and then focuses on the relationship between classical music and cultural policy. I also pose the question of how the value implicit in a ‘culture in common’ and the plural forms of cultural expression help the development of self-respect and esteem and thus contribute to democratic values in a British context. My thesis is designed to contribute to a critical understanding of how classical music policy has been exercised at a local level. This has been achieved by adopting a qualitative research approach. Thus, my research findings show that power differentials exist in the field of cultural policy. The research focus in this thesis suggests that music policy might focus too much on the imposition of a top-down model that is unable to deal adequately with the dispersion of power. Further, the current debate does not take into account the importance of tradition and the critical role of multiculturalism. The theory points to ways these features can be incorporated into future debates on cultural policy.
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Dennis, Simone J. "Sensual extensions : joy, pain and music-making in a police band." Title page, contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09PH/09phd4115.pdf.
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Bibliography: leaves 210-226. Based on 18 months ethnographic fieldwork about the ways in which members of the South Australian Police Band make music. Studies their disconnection from the body of the community, acheived via an embodiment of emotional disconnection; the power of the Department to appropriate a particular order of emotion for the purposes of power; and, the misrecognition of the appropriation of emotion by members of the public who are open to the Department's emotional domination. The context material describes the reasons for the existence of the police band in the police view, while the core material of the thesis is concerned with describing what it is that police band members do, and what they do most of all is, in their own words, experience something that they call "the feel".
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Meeker, Jonathon. "Media Coverage of Music Education: How One Local Newspaper Reports on Music in the Public Schools." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1330275931.
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Keene, Darrin R. "Regional representation versus hit-making, Canadian music policy at the crossroads." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ30948.pdf.
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Shirley, David Ian. "Illuminating the manuscript : a policy archaeology of English Primary music education." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/17959/.
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In 2011, the UK Coalition government introduced a strategy for music education in England - the National Music Plan (NMP). Founded on Darren Henley’s (2011) review of English music education, the NMP outlines arrangements for the funding, organisation, staffing and management of English music education. This thesis is founded on the idea that policy initiatives such as the NMP reflect government thinking about the nature of policy problems. Policy problems are constituted by a particular social view about truth and knowledge. Drawing on Scheurich's (1994) policy archaeology framework (PA), this study sets out to explore the social rules by which NMP policy problems are constituted and how the NMP is perceived amongst music education policy enactors. This PA is conducted through the critical discourse analysis (CDA) of three Coalition government music education policy texts and the thematic analysis of fifteen semi-structured interviews. CDA findings suggest that Coalition government music education policy discourse is infused with both neo-liberal and neo-conservative ideology. The interview data suggests participants perceive four pre-NMP music education policy problems: ‘inequality,’ ‘incoherence,’ and ‘inefficiency’, which reflect neo-liberal policy influences; and ‘musical excellence’, which reflects a neo-conservatism influence. Participant responses suggest that the NMP has enhanced music education provision and workforce training in all regions, but that local history, politics, ideology and vision, and geography are limiting factors. Participant responses also indicate increased confidence for job security; however, this belies the ongoing impoverishment of music teachers’ pay and conditions, reported by many participants. The findings of this study resonate with Spruce's (2013) claim that the NMP has ‘tamed’ English secondary music education. I engage with this claim to show how the NMP has ‘tamed’ primary music education and the music education workforce. The ubiquity of neo-liberal/neo-conservative discourse denies the possibility of a broad, creative general music education, centred on musical exploration and discovery. Furthermore, the failure of the NMP to address existing regional inequalities in terms of provision, training, and teachers’ pay and conditions means that inequalities remain between the quality and breadth of musical opportunities for children in different schools across the English regions. I conclude by offering nine recommendations for policy and practice.
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Stock, Carolyn D. "Perspectives in music education and arts education : the role of National standards for arts education in music education policy reform /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p1413024.
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Thesis (M.A.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 74-75). Also available for download via the World Wide Web; free to University of Oregon users.
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Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.
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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.
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Gerrity, Kevin W. "No child left behind determining the impact of policy on music education /." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180474950.
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Lowther, Gail Elizabeth. "A comparison of the United States' National Music Standards and England's National Music Curriculum." Bowling Green, Ohio : Bowling Green State University, 2010. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1236804608.
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Bretschneider, Simon. "Tanz- und Unterhaltungsmusik in Dresden." Doctoral thesis, Humboldt-Universität zu Berlin, 2018. http://dx.doi.org/10.18452/19411.
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Anfang des 20. Jahrhunderts begann sich der Tanzmusik-Markt zu internationalisieren und die europäischen Staaten orientierten sich zunehmend an Trends, die von den USA ausgingen. Die Übernahme afroamerikanischer Charakteristika in die Interpretation, Instrumentation und Kompositionen europäischer Tanz- und Unterhaltungsmusik (TUM) wurde ab den 1930er Jahren, in der Hochzeit swingender Bigbands, zur Regel. Ich möchte in der vorliegenden kulturwissenschaftlichen Arbeit der Frage nachgehen, inwieweit diese Internationalisierung der TUM im Osten Deutschlands nach 1945 weiterhin Bestand hatte. Dort galt ja die USA und der Westen nun als »Klassenfeind«. Gelang es der staatlichen Kulturpolitik, das sozialistische Musik-Feld in ihrem Sinne zu dominieren? Wurde also in der sowjetischen Besatzungszone (SBZ) und frühen DDR eine andere, »nationalere« und sozialistischere Tanzmusik produziert und rezipiert als in Westdeutschland?
Mittels einer hermeneutischen Untersuchung relevanter Musikdiskurse und einer möglichst umfassenden Einbeziehung aller im Musik-Feld tätigen Akteure und ihrer Strategien gelang es mir, ein differenziertes Bild zu zeichnen. Ein Ergebnis ist die Diagnose zweier getrennter Welten: einer Kulturpolitik, welche die öffentliche zensierte Meinung in der DDR bestimmte und westlich beeinflusste Tanzmusik ablehnte. Und andererseits das Musikgeschäft in alltäglichen Tanzabenden, Radioprogrammen und Schallplattenproduktionen, welches gezwungen war, sich an internationalen Trends zu orientieren, wollte es nicht Tänzer brüskieren oder Hörer an die »Westsender« verlieren. Diese Kluft zwischen Intention und Wirklichkeit, unter der vor allem die ausübenden Tanzmusiker zu leiden hatten, konnte zumindest bis zum Mauerbau 1961 nicht überwunden werden. Das lag unter anderem auch an der Uneinigkeit unter den staatlichen Musikexperten, wie genau die Kriterien einer vom Westen unabhängigen Tanzmusik auszusehen haben. Die vorliegende Arbeit untersucht eingehend das Tanzmusikgeschäft in Dresden, hat aber den Anspruch, auch für andere Städte der DDR in diesem Zeitraum zu gelten.In the beginning of the 20th century, the market for dance music began to become more international, and also the european states imported more and more trends like the new jazz idiomes from the USA. In the 1930`s, when swing was to become the first worldwide pop music, lots of dance bands also in germany integrated the new stilistics in their everyday music work. In this cultural study i would like to ask, if this internationalism in dance music was lasting through the years of early cold war until 1961. In the eastern part of germany under soviet government structures, the USA was the military and cultural enemy. Western dance music like swing and R`n`B had to be replaced by somewhat socialist and nationalist dance music, so the governmental culture politics. Became their wishes reality? Does exist such genre in popular music? With the help of hermeneutics, analysis of relevant discourses and the strategies of musicians, politicians and writers, it is possible to state two worlds of music life in the young GDR. On the one hand, the censored public opinion, in which all western trends in dance music were damned. On the other side, the socialist music business with live music, radio broadcasting and music production, in which music influenced from afroamerican, latin american, jazz and country genres represented a big part. Because radio listeners for example could easily switch to western stations and so be distant from political propaganda. Or the dance halls, which had to consider the wishes of the mostly young dancers for new genres like rock`n`roll because of financial issues. The gap between this two worlds couldn`t be closed until 1961, and especially the dance musicians had to be creative in this regard. The situation became more complex because of the cluelessness of the music experts, how a genuine socialist dance music had to sound like. This study explores the dance music business and cultural politics in dresden, but it claims to be representative also for other cities in the young GDR.
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Cain, Melissa Anne. "Philosophy, Policy, Practice Visions and Realities of Cultural Diversity in Selected Primary Music Classrooms in Brisbane and Singapore." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/365990.
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Abstract :Music educators are busy people, dealing with a crowded curriculum, an assortment of teacher duties, and the pressure to create and present performances at different grade levels. Everyday obligations leave teachers little opportunity to reflect on their work and to critically assess the values which underlie their educational choices. Practical survival, suggests Broomhead, “is a more potent motivator than ensuring the philosophical soundness of daily classroom activities” (2004, p. 21). Over the past twenty-five years, school music programs across the globe have increasingly aimed at being more diversified and culturally inclusive. This has been an outcome of policy makers, theorists, and practitioners responding to changes in contemporary school populations and societies, the result of decolonisation, economic migration and other aspects of globalisation. These cultural and demographic changes have led to some music programs being modified and expanded to better reflect the cultural diversity of student bodies, but seem to have barely affected others. In order to examine this trend, this thesis investigates the occurrence, place and role of cultural diversity in a selection of primary music programs in Singapore and in Brisbane, Australia, highlighting the ways in which philosophy, policy, curriculum and teacher training influence teacher practice. The three main objectives of this study are: 1) to provide an overview of current practices in this field in both cities; 2) to examine the appeals for more diverse music programs by current music philosophers and the rhetoric of policy makers in response to these requests; and 3) to report on discrepancies between policy and actual practice occurring in primary music classrooms and teacher training, and the challenges and obstacles teachers face when attempting to include a variety of music cultures in their programs. Between June 2008 and February 2010, data was collected at twenty primary schools and six teacher training institutions in Singapore and Brisbane through 44 interviews, extensive observation of music classes and scrutiny of curricula and policy documents. In both cities, one can find examples of schools with a strong focus on Western musical concepts and skills, and also schools committed to providing students a music education based on a greater diversity of music cultures. These cities provide an interesting contrast with respect to the history of nation building, governance, cultural policy, educational policy and cultural make-up, while also presenting many similarities. The choice of these specific research locations was also informed by my own teacher training and teaching experience in both cities, which has led to a personal interest in researching the changes in music education programs over the past twenty-five years, and has facilitated access to people and sources. This document opens with an auto-ethnographic introduction in order to highlight how my education and work experience has led me to research this topic. This section introduces the research questions and a description of the methodology used, which is in turn informed by an extensive review of relevant literature. The importance of philosophical inquiry and critical reflection on teacher practice is reiterated throughout this thesis. Key themes are summarised and highlighted in the personal reflections that conclude each chapter. These reflections have allowed me to critically analyse the research topics and the role they play in my own teaching situation. It has been beneficial for me to weigh up the various positions presented by theorists writing on culturally diverse music education, and to make professional decisions on the major issues that affect my practice. I believe my teaching has already been positively impacted by this exercise, as I have been encouraged to revisit these issues frequently and make changes accordingly. Through the analysis of interview data several main themes emerge. The findings across these themes highlight that while many music teachers are indeed making attempts to address a variety of music cultures in their classrooms, several influential factors such as state and national educational policies, music curriculum documents, teacher training courses and most importantly constructs – professional and personal philosophies of music education – greatly impact the success and continuance of these attempts. In this way, this study aims to provide important insights to inform teachers, teacher educators and policy makers about the current state of cultural diversity in primary music classrooms in Brisbane and Singapore. It highlights examples of best practice and presents recommendations to developers of educational policies and school curricula. In addition, it is anticipated that results of this study may inform changes in teacher training in other parts of the world, with the aim of equipping educators to be more competent and confident in addressing cultural diversity in the music classroom.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium of Music, Griffith University.
Arts, Education and Law
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Quigley, Nicholas Patrick. "Making a scene: empowering third-grade students towards creative, independent, and collaborative musicianship in an after-school general music program." Thesis, Boston University, 2018. https://hdl.handle.net/2144/29720.
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This project-thesis introduces an elementary general music curriculum designed to empower students towards creative music making. Building off the work related to creativity in music education by Green (2005), Hickey (2001), and Ruthmann (2008), this curriculum consists of two parts which highlight fundamental musical skill development and creative music making, respectively. The curriculum is rationalized in the contexts of a proposed local teaching environment and education policy, philosophy of music education, and current educational funding policies at the levels of state and federal governments, and non-governmental organizations.
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Franzén, Axel. ""Vår musik är död, Pop behöver stöd" : En undersökning om populärmusikens ställning i den svenska kulturpolitiken." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-166055.
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Uppsatsen utreder populärmusikens ställning i den svenska kulturpolitiken med fokus på musikarrangörer. Bakgrunden består delvis i grundandet av riksförbundet Svensk Live och deras publikationer "Vi fortsätter spela pop (men vi håller på att dö)" och "Maktens Musik" som menar att delar av populärmusiken inte kan överleva eller utvecklas utan stöd. Stödet menar man att populärmusiken oftare nekas än andra genrer med en längre historia av att organisera sig och beviljas statliga stöd. Bakgrunden redogör även för musikvetenskaplig forskning och diskussioner kring begreppet "populärmusik" samt en historisk överblick av modern svensk kulturpolitik med musikarrangörer i fokus och ett redogörande för dagsläget utifrån rapporter från Myndighet för Kulturanalys och Kulturrådet. Populärmusik definieras utifrån Svensk Lives definition att begreppet innefattar all musik som inte är jazz eller konst-, folk- och världsmusik. Undersökningen görs genom en närläsning av hur sökande populärmusik-arrangörer motiverar sin rätt till medel i bidragsansökningar från 2007 och 2017 till Musikverket, Kulturrådet och Stockholms Kulturförvaltning. 2007 och 2017 jämförs för att notera eventuella skillnader då det tidigare kulturpolitiska målet om att motverka kommersialismens negativa verkningar togs bort 2009 och bildandet av Svensk Live 2017. För att komplettera och skapa underlag för diskussion undersöks även ansökningar från genrer som tillhör konstmusiken och jazzen. Även genrefördelningen undersöks genom att ta fram statistik över fördelning och hur den förändrats under samma tidsperiod. Resultatet av undersökningen visar att genrefördelningen skiljer sig mellan institutionerna, samt att populärmusikens del generellt sett har ökat i takt med ett ökat söktryck men att den generellt sett fortfarande får mindre än en majoritet av övriga genrer. Undersökningen visar att argumentationen från populärmusiken har förändrats mellan 2007 och 2017 samt att den skiljer sig från övriga genrer genom att generellt sett motivera med fler utommusikaliska aspekter och värden samt ett större behov att hävda icke-kommersialism. 2017 riktar man även kritik mot bidragsgivarna och visar i flera exempel på inflytande från Svensk Lives publikationer och opinionsdrivning som bland annat menar att "s k pop ska ses som kultur". Utifrån resultatet görs en analys och diskussion grundad i Pierre Bourdieus teorier om fält samt kulturproduktionsfältet två värdepoler där den ekonomiska setts som negativ och kulturella positiv. Begreppen populär- och konstmusik diskuteras med fokus på dess historiska konnotationer betydelse för ansökningarna samt hur begreppen ställs på tvären när ett ökat söktryck tyder på att en del av populärmusiken inte längre är tillräckligt kommersiell för att överleva utan stöd. Paralleller dras till hur jazzen gick från populärmusikalisk genre till konstmusikalisk status när den tappade sin popularitet och hur samma utveckling just nu håller på att ske med delar av den undersökta populärmusiken.
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Adams, Pauline. "Post-war developments in music education : an investigation of music education policy and practice, as implemented within three local education authorities during the period, 1944-1988." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/10018207/.
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In recent times there has been a resurgence of interest in the history of music education, which has opened up new opportunities for the re-interpretation of both established and changing philosophies, pedagogies and practices. Historical research into music services within LEAs is still a fertile area for investigation. This thesis brings new arguments and evidence to bear upon an under-researched and emerging area of study. The focus of this particular investigation emerged from the author’s earlier research into the history of the Inner London Education Authority (ILEA) music service, the findings of which revealed three interrelated factors underpinning its development: funding and commitment, strong leadership, and the ‘London’ factor. These earlier research findings prompted further questions leading to the conception of the rationale and focus for this thesis. The first was to ask if government reports, and the ensuing initiatives they fuelled, had led to other LEAs developing their approaches to state music education in similar or parallel ways and at similar rates, and the second was to examine the role that individuals played in steering the direction of music education within the different authorities. Empirical research has provided an overview of the developments in England within three separate demographically contrasting LEAs: Leicestershire, London and Manchester, which in turn represent a large rural county, the capital city, and a relatively large northern industrial city. During the period of the chosen time frame of this study the LEAs, and those appointed to lead them, were at their most powerful and influential, but, from the mid-1970s onwards, their autonomy gradually declined as education became more centralised through government intervention, resulting in loss of power and the consequent sidelining of their role, a situation which impacted significantly on state provision for music. This thesis examines the consequences of the effects of decision making, by organisations, and their individual interpretation, on music education thinking and practice.
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Nogueira, Junior Jonas. "Um moteto para Vox Mix: análise de uma experiência em arte." Universidade Presbiteriana Mackenzie, 2014. http://tede.mackenzie.br/jspui/handle/tede/1914.
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Previous issue date: 2014-08-06In 1990 was established the children's choir at the Presbyterian College Mackenzie - São Paulo. The Children's Choir started the choirs of basic education graduates of the institution extrapolating program in a few years, the college and its boundaries extending to the University. The group followed its trajectory to become an independent music group called Vox Mix in 1999. Throughout a decade of experience in the construction art was based on non-traditional pedagogical assumptions, but progressives. The present work proposes to undertake an analysis of the experience of art in order to generate a discussion about the importance of the presence of music and its teaching in school, either as a curricular component or as an extracurricular activity. We also discussed how this analysis can contribute to consideration of public educational policies, specifically music education in contemporary times after the promulgation of the Law 7.689/08 which made compulsory the teaching of music content in Brazilian schools.
No ano de 1990 foi constituído o coral infantil no Colégio Presbiteriano Mackenzie São Paulo. O Coral Infantil deu início ao programa de coros graduados da educação básica da instituição extrapolando em alguns anos, os seus limites do colégio e se estendendo até a Universidade. O grupo seguiu sua trajetória até se tornar um grupo musical independente chamado Vox Mix, em 1999. Durante toda uma década, a construção da experiência em arte se fundamentou em pressupostos pedagógicos não tradicionais, e sim progressistas. O presente trabalho se propôs a realizar uma análise dessa experiência em arte a fim de gerar uma reflexão sobre a importância da presença da música e do seu ensino na escola, seja como um componente curricular ou como uma atividade extracurricular. Também discutiu como essa análise pode contribuir para a reflexão das políticas públicas educacionais, especificamente, da educação musical na contemporaneidade após a promulgação da lei 7.689/08 que tornou obrigatório o ensino do conteúdo de música nas escolas brasileiras.
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Farrell, Helen Jane. "The impact and local implementation of standards-based music curriculum policy frameworks and music education programs for students with disabilities and impairments in Victoria : a qualitative evaluation /." Connect to thesis, 2006. http://eprints.unimelb.edu.au/archive/00003381.
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Theodoulou-Charalambous, Elena. "Towards a new model of cultural governance and music policy for Cyprus : a comparative study of European cultural policies and strategies for music in the public sector." Thesis, Leeds Beckett University, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.528352.
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'Culture' and 'cultural policy' are both very dynamic and complex terms. As far as cultural policy and cultural governance are concerned, this study has provided us with an insight both at theoretical and at empirical level. The thesis adopts a structured and systematic approach to cultural policy research to produce meaningful results for the case of Cyprus. Therefore the main scope of this study centres on formulating a policy framework for a new model of music policy for Cyprus on the basis of reforms in the cultural governance system. This study is based on an in-depth qualitative research. The specific methods of bibliographical research, comparative study of selected models of music policy in other European countries and semi-structured interviews have been employed. Furthermore, due to the dynamic and evolving area of the investigated topic, this study incorporates some elements of action research and is also based on a grounded theory approach. On the basis of the results derived from this study, a new model of cultural governance for the case of Cyprus has been formulated in a systematic way, through the proposal of: (i) a structured context for strategic cultural planning; (ii) modernisation of cultural governance structures; (iii) modernisation and improvement of the funding system. The thesis shows that the co-ordinating role of the State in mobilising all the key partners involved, especially in the case of Cyprus, is important for the successful implementation of the proposed reforms in the cultural governance structures. In this respect, the political aspiration and the rhetoric for the creation of a Unified Authority for Culture are taken into account and concrete proposals are provided by this research. On the basis of the results of this study, a Unified Authority for Culture is proposed to be a governmental body dealing mostly with strategic cultural planning, as well as monitoring and evaluation as far as the implementation of cultural policies is concerned. Due to the small size of Cyprus, the Unified Authority for Culture, where deemed necessary, will acquire an interplay role between the national institutions and the local partners involved, in order to secure sufficient cultural co-operation and interaction amongst all the major key players. Synergies will be further sought through the work of the various Ministries which are considered as important actors in terms of developing sector-specific policies for the successful implementation of the national cultural strategy. The latter is expected to be developed by the Unified Authority for Culture, based on wide-ranging consultation with stakeholders. It will be revised periodically so that new needs and developments are taken into consideration. The thesis also concludes that the current cornerstones of the music policy agenda, are centred upon two unifying policy themes - the provision of music education and the promotion and support for local talent and creativity. The aforementioned unifying policy themes bring creativity issues to light. On the basis of this context and by taking into account relevant policy implications, this study provides us with a framework for a new music policy model for Cyprus. It is therefore suggested that there are certain thematic policy areas that need to be further investigated. These policy areas can be summarised in the following broader issues: music education and community outreach cultural activities, fostering creativity through increased opportunities for musicians for career development, developing the music industry, national music infrastructure and networks of music institutions. It should be noted that the contextual nature of the investigated topic has been taken into account all throughout this research. It is for this reason important to note that despite the fact that this research proposes a structured approach to formulating a new cultural governance model, the proposed reforms should be revised periodically in order to better reflect any future developments in Cyprus. In carrying out this study there were certain limitations particularly because cultural policy and governance in the case of Cyprus had not been researched before and therefore there was a lack of statistical data and information. Nevertheless, it is perhaps for this very reason that this study's contribution to knowledge might be regarded as important. This work makes a further significant contribution to knowledge in that it tries to identify links and interconnections of the researched field with other policy areas. This study is thus an attempt to link horizontal issues and policy concerns to sector specific policies with the aim of fostering synergies and coherent approaches. This might in fact be the distinctive feature of this thesis, as work in the field of cultural policy research is either of a generic nature, based on general policy considerations, or of a very narrow nature, based on specific policy implications for particular art forms.
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Sanders, Allison. "Educational policy and instrumental music finding: teachers' perceptions of how No Child Left Behind and the economic recession have affected instrumental music programs in Massachusetts public schools." Thesis, Boston University, 2014. https://hdl.handle.net/2144/11041.
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Thesis (D.M.A.)--Boston UniversityThe purpose of this study was to determine what effects, if any, No Child Left Behind, and the economic downturn starting in 2008, had on the staffing, scheduling, instructional time, and funding of Massachusetts' public school instrumental music programs between 2002 and 2009. This study also attempted to document some of the anecdotal evidence on the state of instrumental music programs in Massachusetts. It was theorized that NCLB and the economy had some effect on instrumental music programs. The study employed a survey design in order to investigate instrumental music teachers' and music, fine arts, and performing arts directors' perceptions of these changes, if any. A researcher-designed questionnaire was sent to instrumental music teachers and directors to gather data on the staffing, scheduling, instructional time, and funding of their programs. Closed and open-ended response items were used to gather the data. The questionnaire was distributed via email over three weeks yielding 81 usable responses. One-sample t-tests were used to determine the statistical difference in the means for staffing levels, the number of students enrolled, and instructional minutes between the 2002-2003 and 2008-2009 school years. Data from the open-response items was coded and analyzed to determine the respondents' perceptions of changes to their programs. The findings demonstrated statistically significant changes in staffing levels between the two years in question. Changes in the number of instructional minutes were statistically significant at the elementary and high school levels, but not at the middle school level. The effect of standardized testing on instructional minutes was also statistically significant at the middle and high school levels. NCLB and the economy affected funding of instrumental music. The number of districts collecting fees for instrumental programs increased significantly between the two years. Money was increasingly directed away from music programs to fund reading and math positions. Funding cuts affected staffing, class sizes, and equipment purchases. Recommendations for application of these findings and suggestions for further research are included.
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Orso, Zuleica Regina Al?ssio. "Perfil do cuidador informal de idosos dependentes do munic?pio de Veran?polis - RS." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2008. http://tede2.pucrs.br/tede2/handle/tede/2570.
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Previous issue date: 2008-08-25O presente estudo teve como objetivo tra?ar o Perfil do cuidador informal de idosos dependentes, bem como, descrever caracter?sticas s?cio-econ?micas, de sa?de e de qualidade de vida. Trata-se de um estudo observacional, descritivo e anal?tico, realizado a partir de um corte transversal, em uma amostra de base populacional realizada no per?odo de 2007 a 2008. A amostra da investiga??o constou de 145 idosos (≥ 60 anos), selecionados aleatoriamente, residentes no munic?pio e cadastrados na Secretaria Municipal de Sa?de para o Programa Nacional de Imuniza??o contra o Influenza nos anos de 2006 e 2007. Desta amostra, encontramos 47 cuidadores. Os resultados evidenciaram consider?vel preval?ncia da necessidade de cuidador na popula??o idosa estudada, evidenciando essa necessidade com o aumento gradativo da idade, principalmente os acima de 80 anos. As caracter?sticas principais do cuidador de idosos ? muito semelhante ? bibliografia pesquisada, vinculam-se na imagem da mulher, filhas ou esposas, casadas, de meia idade e com filhos. As tarefas indicadas pelos pesquisados, como as mais dif?ceis realizadas no dia-a-dia, est?o relacionadas basicamente aos cuidados pessoais e ao suporte ?s atividades de vida di?ria. Ressalta-se que os cuidadores apontam essas tarefas como sendo uma carga excessiva e desgastante. A qualidade de vida do cuidador de idosos apresentou-se menor em rela??o aos controles, devendo-se basicamente a autoavalia??o da sa?de. Em rela??o aos dom?nios, observa-se que o dom?nio psicol?gico mostrou uma diferen?a significante entre os dois grupos pesquisados, como tamb?m uma pequena tend?ncia ao dom?nio de rela??es pessoais, confirmando os problemas de sa?de e as conseq??ncias do cuidado na vida do cuidador.
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Lerumo, Kagiso Solomon. "Implementing Music according to the Curriculum and Assessment Policy Statement (CAPS) : experiences of Foundation Phase educators." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/67763.
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The implementation of Music according to the Curriculum and Assessment Policy Statement (CAPS) in the Foundation Phase is not adequate. Reasons for this incorporate inter alia lack of knowledge of Music pedagogy by Foundation Phase educators, lack of resources and poor assistance and monitoring from the Department of Education.
The study was based on qualitative case study method, exploring the experiences of Foundation Phase educators in implementing Music according to CAPS. Interviews were held with three Foundation Phase educators. Data was also collected by means of observations and analysing personal documents such as learners‟ class work books and educators‟ Music files.
Analyses of the data obtained showed that Foundation Phase educators who participated in the research did not have Music teaching experience before the introduction of CAPS in 2012. A key concern is that these participants did not plan for Music and the time allocated for it was used to teach the so-called core subjects such as Mathematics and Languages. Moreover, educators who participated in this study would only make learners to sing at the beginning of lessons of study areas such as beginning knowledge and Mathematics as an effort to integrate Music with other subjects.
Recommendations included development of a partnership between any University that offers Music and the North West Department of Education which may assist with Music pedagogy and to augment resources such as relevant books and Musical instruments.Mini Dissertation (MMus)--University of Pretoria, 2018.
Music
MMus
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Johnson, William Raymond. "Undergraduate Perceptions of Music Degree Program Value, Pertaining to Future Careers." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397643828.
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Love, Bettina L. "Don't Judge a Book by its Cover: An Ethnography about Achievement, Rap Music, Sexuality & Race." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/eps_diss/28.
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The purpose of this ethnographic study was to explore how youth consumption of rap music informed their ideas of gender, race, sexuality, and education at a local community center in Atlanta, Georgia. The participants in the study were comprised of three male and six female Black students from working class families, ranging in age from 13–17 years old. The data collection process included 60 formal interviews, 55 informal interviews, 27 focus group interviews, 103 participant observations, and document analyses of media materials. Atlas.ti: The Knowledge Workbench (2003) assisted with the organizing, coding, categorizing, and interpreting of the vast amount of data. Findings from the study revealed four major themes: (a) youth’s engagement with rap music fostered essentialized notions of Blackness, (b) teens believed that Blacks were intellectually inferior, (c) youth perceived their classroom teachers as racist and (d) youth responded to their teacher’s perceived racism by disassociating themselves from youth they believed to be academically inferior. The findings of this study addressed the need for candid dialogues about race in the classroom and educational policy that incorporates critical media literacy.
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Cavener, Kim R. "Federal Education Laws and the Fine Arts." Thesis, Lindenwood University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3605243.
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Due to federal laws requiring standardized testing of only a select few of the core subjects, many students have been divested of fine arts instruction (Chen, 2008; Garcia, 2010; Jacobsen & Rothstein, 2009; Maxwell, 2008; Suzuki, 2009). Moreover, school officials have reduced funding allocated to non-tested content areas as one means of balancing district budgets in a poor economy (Chen, 2008; Garcia, 2010). This mixed method study examined music educators' and curriculum directors' perceptions of how federal education laws have affected public school fine arts. Analysis of data from interviews of six music educators and six curriculum directors were conducted concurrently with the distribution of a Likert online survey. The interview and survey methodologies provided descriptive data of educators' perceptions regarding the consideration of fine arts as a core subject in policy and practice, the role of public school fine arts in the education of the whole child, the overall value of the fine arts in light of brain research, and the controversy surrounding the standardized assessment of the fine arts. The findings of the study revealed that even though all curriculum directors and music educators agreed the fine arts should be included in a child's holistic education, music educators possessed stronger beliefs regarding the fine arts being considered a core subject, Curriculum directors indicated their districts valued the fine arts as a public relations tool and as a means to boost achievement in other subjects, while music educators in the same district spoke of feeling devalued, indicating a disconnect in communication between administrators and staff. Finally, though many educators oppose the standardized testing of the fine arts, the assessments would provide valuable data.
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Durst, Danny. "A Proposal for Securing a Sustainable Future for Blossom Music Center." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1395964878.
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Kopkas, Jeremy M. "Soundings: Musical Aesthetics in Music Education Discourse from 1907 to 1958." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/eps_diss/81.
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In this dissertation I examine the discourse of music educators as it relates to musical aesthetics in the United States from the creation of the Music Supervisors’ Conference in 1907 to the year of the publication of Basic Concepts of Music Education: The Fifty-Seventh Yearbook of the National Society for the Study of Education, Part 1 in 1958. The purpose of this dissertation is to show that philosophical discussion, especially in relation to musical aesthetics, was much more comprehensive than previously acknowledged. The conventional view that the arguments supporting music education were primarily utilitarian is a limited interpretation of the discourse prior to 1958. In actuality, arguments about music extended beyond its practical social, economic, and political utility. Additional aesthetic theories guided the field and girded ideas of musical understanding and informed instruction. A better understanding of the discourse of this period contributes to more informed conversations about musical aesthetics and its relation to music education. Utilizing philosophical analysis and archival research, I argue in this dissertation that the philosophical discourse relating to musical aesthetics was rich, varied, insightful, and pervasive. The evidence in this dissertation refutes the standard interpretation which eschews the possibility of discourse on aesthetics taking place prior to 1958. I show that there was deeper philosophical analysis than what is currently acknowledged by those who presently make the claim that what was intended to happen generally in the field of music education and during instruction was solely guided by utilitarian philosophy. In other words, it expands the current understanding of philosophical discourse relating to musical aesthetics in music education before the Music Education as Aesthetic Education movement that is argued to begin with the publication of Basic Concepts.
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Compton, Regina F. "He Do the Police to the Tune of a Valkyrie." University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1275918014.
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Bernard, Cara Faith. "Ensemble educators, administrators, and evaluation| support, survival, and navigating change in a high-stakes environment." Thesis, Teachers College, Columbia University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3704455.
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This study examined the ways in which mid-career ensemble directors and administrators (some with musical and some without musical background) described the effect of implementing standardized teacher evaluations on their practices and perspectives. Participants described the application and critique of the evaluation tools, particularly the Danielson Framework for Teaching, on their process and pedagogy. There is little information on how in-service teachers—specifically ensemble directors—locate themselves in their practice and how they articulate their process and pedagogy. There is also little literature on mid-career teachers, both in identity formation and self-reflection. Mid-career ensemble educators who have an established professional identity may find imbalance in light of the new policies, and have to negotiate and manage the contemporary evaluation systems predominantly designed for English and Math. Further, if supervisors do not understand what learning and assessment processes look like in a middle or high school band, orchestra, or chorus setting, they might try to evaluate with criteria that apply to a social studies or chemistry class. Without critically reflecting on how these evaluations affect pedagogy and process, educators may fall into routines of trying to reach a particular benchmark, instead of imagining ways to engage with their students.
A phenomenological interview approach was used to solicit the participants’ voices and to allow their narratives to describe their lived experiences with teacher evaluation in ensembles. The participants’ personal and shared narratives help to better explain and navigate the changing waves of educational policy. Data collection involved interviews and document review of the contemporary evaluation systems, in particular, the Danielson Framework for Teaching. Data analysis uncovered themes of conflicting identities in the classroom, misaligned interpretations of student-centered learning, as well as discourses based on location and the privileges associated with place. Teachers negotiated their performer/conductor and educator selves; administrators negotiated their leader and educator selves.
This study found that the Danielson evaluative tool, when poorly implemented in an ensemble setting, is faulted and lacks content validity. Additionally, while ensembles function rather traditionally in public schools, embracing a more open rehearsal pedagogy with conductor as facilitator may help to assure more student-centered learning.
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Johnson, William Raymond. "Four-Year Music Degree Program Perceptions of Value from Administrators and Students: A Mixed Methods Study." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460725110.
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Oliveira, Anselmo Batista de. "Protagonismo juvenil: o Programa Aprendiz Comg?s no munic?pio de Campinas." Pontif?cia Universidade Cat?lica de Campinas, 2009. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/624.
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Previous issue date: 2009-02-18The study discusses the history of participation of students in the preparation and implementation of social projects based on the methodology of the Programa Aprendiz Comg?s. This methodology was proposed to the public schools of Campinas / SP. The research sought to identify and discuss the action performed by students who joined the program to provide an analysis on the role youth. The objective was to understand and identify the methodology of the Programa Aprendiz Comg?s contributed to the action of the young protagonist of state public schools. Was used in qualitative analysis of information obtained from documents and through a questionnaire applied to pupils participating. He concludes that the Apprentice Program Comgas partially contributed to the formation of juvenile protagonist in schools of Campinas / SP. However, young people were framed in a neoliberalism role, which sees as the social problem.
A presente pesquisa discute o hist?rico de participa??o dos/as alunos/as no processo de elabora??o e execu??o de projetos sociais baseados na metodologia do Programa Aprendiz Comg?s proposta ?s unidades de ensino da rede p?blica estadual de Campinas/SP. A pesquisa procurou identificar e discutir a a??o realizada por alunos/as que integraram o Programa para apresentar uma determinada perspectiva de an?lise acerca do protagonismo juvenil, que, como discutido neste trabalho, ? sujeito a diversas compreens?es. Al?m disso, a inten??o foi compreender e identificar se a metodologia do Programa Aprendiz Comg?s realmente contribuiu para a efetiva??o da a??o protag?nica dos/as jovens das escolas p?blicas estaduais participantes. Nas an?lises qualitativas empreendidas utilizou-se de informa??es obtidas em documentos e por meio de question?rio aplicado aos/?s alunos/as participantes. E, baseado nos conceitos de juventude, pol?tica p?blica, cidadania, bem como nos resultados obtidos com a pesquisa, conclui-se que o Programa Aprendiz Comg?s contribuiu parcialmente para a forma??o do protagonista juvenil em unidades de ensino da rede p?blica estadual de Campinas/SP. Entretanto, nestas unidades de ensino, os/as jovens foram enquadrados numa perspectiva de protagonismo neoliberal e salvacionista, que os/as enxerga como problema social e busca sua adequa??o ? ordem e ?s exig?ncias do mercado do trabalho.
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Kwon, Hyun Seok. "Cultural globalization and the Korean promotion policy for music based on tradition : a study of the activation plan and its background." Thesis, SOAS, University of London, 2014. http://eprints.soas.ac.uk/20296/.
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Policy designed to promote traditional arts has arguably been the primary recent activity within the Korean cultural field. The Activation Plan, aimed at traditional arts in the private field, is a notable programme that was conducted between 2006 and 2010. This thesis aims to illuminate why and how the Activation Plan was carried out, by exploring the background to the Activation Plan itself and by looking at case studies of two of its subsidiary projects, the 21st Century Korean Music Project, and the Traditional Arts Star Project. By limiting the consideration of the Activation Plan to its policy to promote popular creative traditional music his study examines the historical conditions of popular hybrid music cultures for the Activation Plan and the perceptions of relevant policy makers, these being aspects that are not yet adequately discussed in existing studies about world music in the global music industry and in studies about the contemporary Korean genre of kugak fusion. In consideration of cultural globalization, this thesis employs a cross-systematic approach that divides cultural practice into four levels of operation individual, national, cross-national and global - and a cultural identity approach. Therefore, it identifies today's new aim of cultural policy as the 'cooperative conservation' of traditional cultures. Covering the period from the early twentieth century to the present day, this thesis explores how popular music cultures on four levels have been driven by dominant cultural identities. It finds that the Activation Plan was conducted within the post people's music culture, within a regional, Asian-centred phenomenon now known as the 'Korean Wave', and within the global world music culture. Ultimately, the Activation Plan was underpinned by a 'permissive' Korean identity which allowed for potential identities at different levels within music production, and it operated as a policy for the cooperative conservation of traditional music.
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Pitrez, Filho Manoel Luiz Soares. "An?lise da preval?ncia de fatores de risco cardiovascular em adolescentes do munic?pio de Veran?polis, RS." Pontif?cia Universidade Cat?lica do Rio Grande do Sul, 2000. http://tede2.pucrs.br/tede2/handle/tede/6265.
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Objective: To describe the prevalence of coronary artery disease (CAD) risk factors in adolescents. Methods: We investigated 214 subjects from 10 to 18 years of age, (105 males and 109 females). Sex, total cholesterol, LDL-cholesterol, HDL-cholesterol, triglyceride, glucose, body mass index (BMI), systolic blood pressure, diastolic blood pressure, and family history of CAD (parents with cardiovascular events before 55 years old and other family members, were analysed in these patients. Results: Total holesterol, HDL-c and triglyceride levels werw significantly higher in females than in males. However, all values were in between normal range levels. The hipercholesterolemia, elevated blood pressure, hiperglicemia, overweight, and CAD familial history were respectively: 12%, 43%, 3%, 53% e 61% in male adolescents and 22%, 53%, 2%, 36% and 48% in female adolescents. The mean number of CAD risk factors was 1.56?0.96. Approximately, 86% of the subjects had at least one type of CAD risk factor when the CAD familial history was considered. Conclusions: Regarding the CAD risk factors analyzed, the adolescent populations studied presented with a similar pattern described in other populations with the same age group, except for blood pressure. Although this population is young (below 18 years old) and resident in Veran?polis County which is considered a high longevity Brazilian region, we detected a high CAD risk factor prevalence. Further studies analyzing genetic and environmental variables may help to elucidate the results described here. The results from this studies strongly support the idea that the prevention of CAD should be started in early life.
Objetivos: Descrever a preval?ncia de fatores de risco cardiovascular em adolescentes de Veran?polis (RS). Material e M?todos: Foram avaliados 214 adolescentes entre 10 e 18 anos incompletos e pelo menos um de seus pais, 105 do sexo masculino e 109 do sexo feminino. As vari?veis analisadas nos adolescentes foram: sexo, n?veis de colesterol total, LDL-c, HDL-c, triglicer?deos, glicose, ?ndice de massa corporal (IMC), press?o arterial sist?lica e diast?lica e hist?ria familiar de doen?a cardiovascular precoce (evento cardiovascular antes dos 55 anos nos pais e nos demais membros da fam?lia) realizada atrav?s de um heredograma gen?tico. Resultados: Encontraram-se diferen?as estatisticamente significativas nos valores de colesterol total, HDL-c e triglicer?deos, sendo que as mulheres apresentavam os n?veis mais elevados. Entretanto, todos encontravam-se dentro dos limites da normalidade. As preval?ncias de hipercolesterolemia, de press?o arterial elevada, de hiperglicemia, de sobrepeso/obesidade e de hist?ria familiar de doen?a(s) cardiovascular(es) (DCV) foram, respectivamente, 12%, 43%, 3%, 53% e 61% nos adolescentes do sexo masculino e 22%, 53%, 2%, 36% e 48% nos do sexo feminino. O n?mero m?dio de fatores de risco para DCV observado, por adolescente investigado, foi de 1,5?0,96. Cerca de 85% dos adolescentes tinham pelo menos um tipo de indicador de risco cardiovascular considerando-se a hist?ria familiar para DCV. Conclus?o: Dos fatores de risco analisados, a popula??o investigada manteve um padr?o descrito na literatura para v?rias popula??o da mesma faixa et?ria. A ?nica exce??o foi em rela??o aos n?veis press?ricos, que se mostraram acima do esperado. Apesar de se tratar de uma popula??o jovem (abaixo de 18 anos) e residente em um munic?pio reconhecido nacionalmente por sua longevidade, detectou-se uma preval?ncia alta de fatores de risco para doen?as cardiovasculares, principalmente em rela??o a n?veis press?ricos elevados. Estudos complementares abordando a quest?o gen?tica e a ambiental (h?bitos alimentares e atividade f?sica) ser?o importantes para elucidar estes achados. O conjunto dos resultados sugere a necessidade de desenvolvimento e implementa??o de programas preventivos de DCV em adolescentes.
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Neves, Estela Maria Souza Costa. "A pol?tica ambiental e os munic?pios brasileiros." Universidade Federal Rural do Rio de Janeiro, 2006. https://tede.ufrrj.br/jspui/handle/tede/677.
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Previous issue date: 2006-08-09Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior
The thesis investigates the environmental policies of Brazilian municipalities. The starting point is the involvement in environmental action by municipalities mandated by the environmental legislation of 1981 and confirmed by the Brazilian 1988 Constitution. Contrary to the case in education and health, the environmental responsibilities vested on municipalities do not have financial and institutional strengthening mechanisms attached. We focus our study on the environmental mandate of municipalities and the resources available to them to carry out the corresponding environmental agenda. The question leading the research is whether municipalities can face up to their environmental mandate in the absence of regular financial transfers from other levels of government. Using a step-wise approach, the thesis pins down the contents and characteristics of the municipal environmental agenda, the resources required to implement it, and the extent to which those resources are available to municipal authorities. The first part of the thesis demarcates the field of environmental action according to the Brazilian legal and institutional framework. The profile of our main actor, the Brazilian municipality, is then presented. This is done through the mapping of the structural characteristics of municipalities and of their governmental responsibilities under the federal system of the country. The area of work of municipalities in environmental protection and management is identified next by crossing the overall municipal mandate for government action with the national environmental matrix. This allows establishing the contents of the municipal environmental agenda. Resources were examined first from a theoretical perspective and then through empirical study. The latter included both qualitative analyses using case studies and interviews, and the statistical scrutiny of data sets. The question of whether resource availability is a binding constraint to municipal environmental action can be answered as follows: municipalities do much more than expected in the environmental area, much less than they could possibly do under present conditions, and much less than is required from their constitutional mandate. The thesis concludes that, in spite of the institutional and financial restrictions binding their capabilities and limiting their resource mobilization possibilities, municipalities have shown an impressive environmental performance. Nonetheless, resource mobilization for this purpose was under potential. There is hence a wide area of municipal environmental action that remains to be colonized . Considering, however, the breadth of their overall environmental mandate, it is not possible for municipalities to fully respond to their constitutional environmental agenda without a supporting national strategy involving the federal and state governments.
As pol?ticas p?blicas de defesa ambiental promovidas pelos Munic?pios brasileiros constituem o tema da pesquisa. O ponto de partida ? a obrigatoriedade do envolvimento municipal com as tarefas de defesa do meio ambiente, determinada em 1981 pela regula??o da pol?tica ambiental em ?mbito nacional e consagrada na Constitui??o Federal em 1988. Ao contr?rio de outros temas como a educa??o e a sa?de, a atribui??o ambiental outorgada aos munic?pios est? desprovida de mecanismos que assegurassem seu financiamento e a capacita??o de seus promotores. Neste contexto, a tese investiga o campo e conte?do das atribui??es ambientais sob responsabilidade dos munic?pios e os recursos dispon?veis para fazer face ? agenda ambiental. A pergunta-guia da investiga??o indaga se os munic?pios s?o capazes de responder ?s suas atribui??es relacionadas ao meio ambiente na aus?ncia de transfer?ncias regulares de recursos financeiros. O m?todo adotado para a pesquisa consistiu em aproxima??es sucessivas ao tema dos recursos e capacidades municipais para pol?ticas ambientais. A primeira parte da pesquisa foi dedicada a delinear o objeto da a??o ambiental - os contornos do campo de a??o ambiental tal como entendido no marco institucional brasileiro. A seguir, foi delineado o perfil do ator principal, o Munic?pio. Foram analisadas as caracter?sticas estruturais dos munic?pios brasileiros e as atribui??es nas quais se insere a a??o municipal, ? luz do processo de descentraliza??o e das rela??es federativas. O campo de atua??o dos munic?pios para a defesa ambiental foi identificado atrav?s do confronto entre o conjunto de atribui??es municipais e a matriz ambiental nacional, sendo delineada a agenda ambiental municipal. O tema dos recursos foi abordado desde uma perspectiva te?rica e em seguida atrav?s de estudos emp?ricos. Estes conjugaram an?lises qualitativas atrav?s de estudos de caso e entrevistas, e an?lises quantitativas atrav?s de procedimentos estat?sticos de descri??o e an?lise explorat?ria. No que diz respeito ? disponibilidade de recursos, os resultados da pesquisa podem ser assim sintetizados: os munic?pios fazem bem mais do que seria de esperar no campo da defesa ambiental, bem menos do que lhes ? poss?vel fazer com os recursos de que disp?em e muito menos do que lhes ? exigido por suas atribui??es constitucionais. Tendo em vista o panorama institucional e financeiro que enquadra as atividades municipais, suas capacidades e recursos j? mobilizados, a pesquisa conclui que os Munic?pios t?m tido um desempenho not?vel. Entretanto, desde o ponto de vista dos recursos dispon?veis, seu desempenho t?m sido inferior ?s suas possibilidades. H? um amplo territ?rio do exerc?cio da autoridade estatal em benef?cio da qualidade ambiental que est? ainda por ser colonizado pelos munic?pios com recursos e capacidades atualmente dispon?veis. Do ponto de vista do conjunto das atribui??es municipais, sem uma estrat?gia de ?mbito nacional na qual estejam envolvidos os governos estaduais e federal, ? imposs?vel aos munic?pios cumprir integralmente com sua agenda.