Academic literature on the topic 'Music theory fundamentals'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Music theory fundamentals.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Music theory fundamentals"
1
Smith, Julius O. "Fundamentals of Digital Filter Theory." Computer Music Journal 9, no. 3 (1985): 13. http://dx.doi.org/10.2307/3679573.
Full text
2
Nzewi, Meki, Israel Anyahuru, and Tom Ohiaraumunna. "Beyond Song Texts?The Lingual Fundamentals of African Drum Music." Research in African Literatures 32, no. 2 (June 2001): 90–104. http://dx.doi.org/10.2979/ral.2001.32.2.90.
Full text
3
Nzewi, Meki, Israel Anyahuru, and Tom Ohiaraumunna. "Beyond Song Texts--The Lingual Fundamentals of African Drum Music." Research in African Literatures 32, no. 2 (2001): 90–104. http://dx.doi.org/10.1353/ral.2001.0057.
Full text
4
Parrish, Regena Turner. "Development and Testing of a Computer-Assisted Instructional Program to Teach Music to Adult Nonmusicians." Journal of Research in Music Education 45, no. 1 (April 1997): 90–102. http://dx.doi.org/10.2307/3345468.
Full textAbstract:
Two universities were selected to evaluate music fundamentals software developed for prospective nursery-school through sixth-grade teachers. Using folk songs as examples, the investigator designed computer-assisted instructional (CAI) software to supply future teachers with a repertoire of songs and related music concepts for classroom use. Subjects at the first university ( N = 148) were enrolled in a music fundamentals and performance skills course, the first of two music courses for preservice teachers. Subjects at the second university ( N = 95) were enrolled in a music methods and materials course, the only music course for preservice teachers offered at this site. A comparison of posttest scores of control (in-class lecture) and experimental (CAI) groups yielded no significant differences in either experiment. Students in both experiments thought the song examples were helpful. Furthermore, reducing class time spent with music theory allowed instructors to spend more time with other instructional tasks, potentially enabling students to improve in other performance areas.
5
Yih, Annie. "Reviews of Recent Textbooks in Theory and Musicianship. 1. Fundamentals: Scales, Intervals, Keys, Triads, Rhythm, and Meter . John Clough, Joyce Conley. ; Foundations of Music and Musicianship . David Damschroder. ; Fundamentals of Music . Earl Henry. ; The Music Kit . Tom Manoff." Music Theory Spectrum 15, no. 2 (October 1993): 229–34. http://dx.doi.org/10.1525/mts.1993.15.2.02a00050.
Full text
6
Yih, Annie. "Reviews of Recent Textbooks in Theory and Musicianship. 1. Fundamentals Scales, Intervals, Keys, Triads, Rhythm, and Meter John Clough Joyce Conley Foundations of Music and Musicianship David Damschroder Fundamentals of Music Earl Henry The Music Kit Tom Manoff." Music Theory Spectrum 15, no. 2 (October 1993): 229–34. http://dx.doi.org/10.2307/745815.
Full text
7
Vieira, Célia, and Ana Carvalho. "Narrativity and Audiovisual Performance." Journal of Science and Technology of the Arts 11, no. 1 (September 10, 2019): 31–40. http://dx.doi.org/10.7559/citarj.v11i1.590.
Full textAbstract:
In this paper, we intend to reflect on how audiovisual performance forces us to rethink the concept of narrativity. After a brief review on the fundamentals of narrative theory and audiovisual performance, we will analyse three cases that illustrate different manifestations of narrativity in audiovisual performance.
8
Кovalenko, Oleksandr. "DIDACTIC FUNDAMENTALS OF MUSICAL TRAINING OF FUTURE CHOREOGRAPHY SPECIALISTS IN DOMESTIC HIGHER EDUCATION INSTITUTIONS." Collection of Scientific Papers of Uman State Pedagogical University, no. 1 (March 31, 2021): 91–97. http://dx.doi.org/10.31499/2307-4906.1.2021.228723.
Full textAbstract:
The article considers the didactic conditions of musical training of choreographers in higher education institutions of our state. In this work the structural didactic features of musical competence of choreographers are defined, such as: feature of professional activity planning; ways and methods of performing professional activities; communication techniques; organizational skills of choreographers; features of dance and motor motility. The article also states that the author considers an individual approach to take into account the ways of adapting the properties of studentsʼ nervous system to the requirements of professional activity as an effective method of musical training of choreographers in domestic higher education institutions. The article also deals with an individual approach, which takes into account the individual differences of students, the development of techniques, tools and methods of forming professional and musical skills of choreographers, due to the typological properties of the nervous system. At the heart of the individual approach considered in the study there is the idea of understanding a developing student as a person with a unique set of individual qualities. This involves the recognition of different, but equivalent in effectiveness methods of educational and creative activities that meet the objective requirements of the professional activity of the teacher and the individual characteristics of the future specialist.Also, in this paper, it is noted that in pedagogical science didactics is connected with the methods of teaching courses. The method of teaching folk dance is somewhat different from other choreographic disciplines due to the specifics of national dance. All textbooks, programs and methodical materials on folk choreography are authorʼs versions and naturally cannot be accepted by all experts identically.
Keywords: musical training, music theory, choreographer, professional training, didactics, didactic bases of training, professional skill, systematic approach to musical training.
9
Wingell, Richard J. "Anicius Manlius Severinus Boethius. Fundamentals of Music. Translated, with Introduction and Notes, by Calvin M. Bower. Ed. Claude Palisca. (Music Theory Translation Series.) New Haven and London: Yale University Press, 1989. xliv + 205 pp. $32.50." Renaissance Quarterly 43, no. 2 (1990): 412–13. http://dx.doi.org/10.2307/2862384.
Full text
10
Karas, Hanna. "USE OF INTERDISCIPLINARITY AS AN INNOVATIVE APPROACH IN THE EDUCATIONAL PROCESS OF ART INSTITUTIONS OF HIGHER EDUCATION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 18–22. http://dx.doi.org/10.36550/2415-7988-2021-1-195-18-22.
Full textAbstract:
The article is devoted to the use of interdisciplinarity as an innovative approach in the educational process of art institutions of higher education on the example of studying the discipline «Evolution of artistic styles in art» included in educational master's programs. This discipline is based on the theory and practice of professional development of a teacher-musician, who provides the Master of Arts education process, shapes their professional development necessary for their future musical and pedagogical creativity, skills, and pedagogical culture. The content of the discipline consists of the introduction of artistic styles’ scientific and theoretical fundamentals to the future specialists. The objectives of the course are 1) the theoretical generalization of the historical experience of the evolution of artistic styles, 2) acquaintance with the best examples of artistic culture, representing different styles and directions, 3) mastering complex problems of stylistic analysis. The aim of the course is the establishment of a strategy for a professional growth as part of the vocational training of masters in the following educational areas «Secondary education. Musical Art» and «Musical Art»; mastering the scientific and theoretical foundations of the artistic styles’ analysis as a formative student course of the music and pedagogical education in higher education. The interdisciplinary approach can be implemented in two main formats. A. Kolot believes that with the help of the first format he builds bridges between different sciences, brings them together on an informal basis without violating their individuality and uniqueness. In this format, the discipline «Evolution of artistic styles in art» «builds bridges» with such disciplines as: philosophy, history, foreign languages, general psychology, culturology, sociology, art culture, aesthetics. In the second format, interdisciplinarity is presented as a real tool for unifying sciences, and the emergence of integrative products. In this format the course «Evolution of Artistic Styles in Art» involves an organic combination of such disciplines as history and theory of music, theater, ballet, art history, philosophy, art culture and literature, analysis of musical form, choral class, music psychology, and others. Therefore, we propose to define the student course «Evolution of artistic styles in art» as a complex, interdisciplinary field of knowledge and consider the application of an interdisciplinary approach in the practice of a teacher of artistic institutions.
Dissertations / Theses on the topic "Music theory fundamentals"
1
MCKINNEY, TAMARA ANN. "THEORY AND PRACTICE: RAMEAU'S FUNDAMENTAL BASS APPLIED TO THE CONTEMPORARY FRENCH OVERTURE." University of Cincinnati / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1085603133.
Full text
2
Tidd, Tamara A. "Theory and Practice: Rameau's Fundamental Bass Applied to the Contemporary French Overture." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1567795563843124.
Full text
3
Tomasacci, David Nelson. "A Theory of Orthography and the Fundamental Bass for the Late Oeuvre of Scriabin." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1366214596.
Full text
4
Sugahara, Leila Yuri. "Música na escola: um estudo a partir da psicogenética walloniana." Pontifícia Universidade Católica de São Paulo, 2008. https://tede2.pucsp.br/handle/handle/16378.
Full textAbstract:
Made available in DSpace on 2016-04-28T20:57:26Z (GMT). No. of bitstreams: 1
Leila Yuri Sugahara.pdf: 1269069 bytes, checksum: c4edb0d61314c843891030fbbe8ee17f (MD5)
Previous issue date: 2008-05-30This project had as an objective to study the role of music at school, from the conception teachers and pedagogic coordinators have of music in the total development of the child. As development presupposes learning and the school is the privileged place of this process, being the teacher the mediatory agent and the pedagogic coordinator having as duty teachers formation, it is by teachers and pedagogic coordinators speech that this project intends to discuss the proposed theme. As we understood the teacher s reflection about music in the child s development, in continuous formation programmes, a way to the effectiveness of musical practice at school, we chose to interview teachers who had participated in a continuous formation programme in an urban community in São Paulo country-side. To obtain a broad spectrum of the data collected for the survey, we interviewed: a kinder-garten and nursery school teacher, a multi-disciplinary elementary and junior high school teacher, a Physical Education teacher, an Art teacher, a kindergarten and nursery pedagogic coordinator and an elementary and junior high school coordinator. Henry Wallon s psychogenetics theory guided the data collection and analysis of information. The analysis was carried out from 3 pivotal angles: the constitution of the teacher and the pedagogic coordinator as people, the music in the total development of the child and the music at school. The interviewed people noticed from their daily school practice, that music induces movement, it develops the sense of rhythm, the coordinated motor activity, the memory and it promotes an interaction among people favouring socialization. The continuous music formation courses make it possible for the student to have a better improvement of the musical language potential, in order to improve his development as a complete, entire person in all of his dimensions: affective, cognitive and motor
Este trabalho teve como objetivo estudar o papel da música na escola, a partir da concepção que professoras e coordenadoras pedagógicas têm da música no desenvolvimento integral da criança. Como desenvolvimento pressupõe aprendizagem e a escola é o lócus privilegiado desse processo, sendo o professor o agente mediador e o coordenador pedagógico tendo como atribuição a formação de professores, é pelo discurso de professoras e coordenadoras pedagógicas que este trabalho pretende discutir o tema proposto. Ao entender que a reflexão por parte do professor, sobre a música no desenvolvimento da criança, em programas de formação continuada, pode ser um caminho para a efetivação da prática musical na escola, optou-se por entrevistar educadores que haviam participado de um programa de formação continuada em município do interior paulista. Para se obter uma maior abrangência na coleta dos dados para a pesquisa, foram entrevistadas: 1 professora de educação infantil, 1 professora polivalente de ensino fundamental I, 1 professora de educação física, 1 professora de arte, 1 coordenadora pedagógica de educação infantil e 1 coordenadora de ensino fundamental. A teoria psicogenética de Henri Wallon norteou a coleta e a análise dos dados. A análise foi feita a partir de 3 eixos: a constituição da pessoa do professor e do coordenador pedagógico; a música no desenvolvimento integral da criança e a música na escola. As entrevistadas perceberam a partir de sua prática cotidiana escolar, que a música induz ao movimento, desenvolve o senso rítmico, a coordenação motora, a memória, e promove a interação entre as pessoas, favorecendo a socialização. Os cursos de formação continuada em música possibilitam um melhor aproveitamento do potencial da linguagem musical, para o desenvolvimento da pessoa completa e integrada do aluno em todas as suas dimensões: afetiva, cognitiva e motora
5
Iordanou, Charis. "La théorie de la basse fondamentale en France. Étude de sa diffusion et de sa didactisation au XVIIIe siècle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040012/document.
Full textAbstract:
L’objet de cette thèse est d’étudier l’intégration, la didactisation et la modification de la théorie ramiste, de son statut et de sa finalité dans la deuxième moitié du XVIIIe siècle en France, à travers les ouvrages didactiques sur l’écriture musicale. Elle vise à comprendre et à expliquer, d’une part, le remplacement des ouvrages théoriques de Rameau par des ouvrages de ses interprètes et, d’autre part, le rejet de la théorie de la basse fondamentale au début du XIXe siècle. La première partie de la thèse présente l’œuvre théorique de Rameau, la réception, l’interprétation et la propagation de son système par ses contemporains. Dans une deuxième partie, la pratique des partisans ramistes est située dans son contexte (scientifique, socio culturel, éducatif, philosophique et didactique), pour examiner la démarche de ces auteurs, esquisser une typologie de leurs ouvrages et déterminer la place qu’ils occupent dans la deuxième moitié du XVIIIe siècle. Enfin, la troisième partie, consacrée à l’analyse des ouvrages didactiques, cherche à faire émerger le rôle de ces médiateurs dans le devenir paradoxal de la théorie ramiste et à dégager les transformations théoriques et didactiques de cette théorie ainsi que les facteurs influençant positivement ou négativement son interprétation et sa diffusionThis work is concerned with the analysis of the integration, didactisation and modification of Rameau’s theory, as well as of its status and definiteness in the second half of the XVIIIth century in France, via the study of the didactic treatises on music. This thesis aims in understanding and explaining, first, the substitution of the theoretical works of Rameau by the studies of its interpreters, and second, the rejection of the fundamental bass theory in the beginning of the XIXth century. More specifically, the first part of the thesis presents the theoretical work of Rameau, in particular, the reception, interpretation and transmission of his system by his contemporaries. In the second part of the thesis, the practice of Rameau’s supporters is put into context (scientific, socio-cultural, educational, philosophical and didactic), in order to investigate the reasoning of these authors, to outline the typology of their treatises and to determine the significance of their work in the second half of the XVIIIth century. Finally, the third part of this thesis deals with the analysis of the didactic works on music and attempts to bring out the role of Rameau propagators to the paradoxical fate of Rameau’s theory in order to remove its theoretical and didactic transformations as well as to reveal and eliminate the positive or negative influential factors of its interpretation and diffusion
6
Ribeiro, Rosangela Benedita. "A crian?a de seis anos no ensino fundamental de 9 anos: o processo de implementa??o ao longo de uma d?cada no munic?pio de Itajub?/MG." Pontif?cia Universidade Cat?lica de Campinas, 2014. http://tede.bibliotecadigital.puc-campinas.edu.br:8080/jspui/handle/tede/738.
Full textAbstract:
Made available in DSpace on 2016-04-04T18:33:18Z (GMT). No. of bitstreams: 1
Rosangela Benedita Ribeiro.pdf: 1713137 bytes, checksum: 47a6f4174ae38c90982280b58af4d51a (MD5)
Previous issue date: 2014-12-17This research aims to examine the implementation and introduction of primary education of nine years (EF) in the city of Itajub? / MG over a decade. Justified interest in this subject by the pioneering spirit of the municipality in relation to the proposed extension of the EF, it deployed in 2002, given that only in 2006 was published federal law 11.274 that determined its mandatory throughout the territory Brazilian and that 2010 was the deadline set by the Ministry of Education for organizing, planning and expansion of the new EF in all Brazilian municipalities. The construction of the research was done through conducting a literature review on SciELO base and BDTD. The articles, theses and dissertations were categorized and organized in spreadsheets; First there was the reading of abstracts and later the full reading of those texts that addressed the new nuclear EF way. These readings showed obstacles encountered by school units and the educational systems in relation to the expansion and implementation of EF nine years. It was considered valid, then investigate, from the contributions of historical-cultural theory, which reveal the speeches of the coordinators regarding the establishment and implementation of EF nine years (EF9A), with special interest in: i) chronicle as was the establishment and implementation of EF9A; ii) describe and analyze the construction of EF9A the curriculum for the 1st year, the city of Itajub?; iii) To investigate the methodology proposed for the pedagogical practices and the inclusion of playing together with the children of six years and iv) to examine documents guiding the pedagogical proposal published by bodies Federal, State and Municipal. For research we chose to semi-structured interviews with coordinators of municipal Itajub?, with at least ten years of experience with the implementation of the new EF in that municipality; is the set of respondents composed of 05 supervisors. Two were organized axes analysis i) Tell the history of deployment / implementation of EF9A in Itajub?MG - evidence from which those who experienced and ii) dichotomy between playing and learning (reading and writing); ass qualitative analyzes guided up the studies of Vygotsky and colleagues. We hope that with this research, from the path analysis of the Itajub? city's experience over a decade, we can contribute to reflections on the ways in which new public policies are deployed / implemented in Brazil, with regard to the construction of new curricula, teaching practices and teacher training.
A presente pesquisa tem por objetivo analisar a implanta??o e implementa??o do Ensino Fundamental de nove anos (EF) do munic?pio de Itajub?/MG, ao longo de uma d?cada. Justifica-se o interesse por esse tema pelo pioneirismo do referido munic?pio em rela??o ? proposta de amplia??o do EF, nele implantada no ano de 2002, tendo em vista que somente em 2006 foi publicada a lei federal 11.274 que determinou sua obrigatoriedade em todo o territ?rio brasileiro e que 2010 foi prazo final estabelecido pelo Minist?rio de Educa??o para organiza??o, planejamento e amplia??o do novo EF em todos os munic?pios brasileiros. A constru??o da pesquisa se deu pela realiza??o de uma revis?o bibliogr?fica realizada na base Scielo e na BDTD. Os artigos, teses e disserta??es foram categorizados e organizados em planilhas; primeiramente realizou-se a leitura dos resumos e posteriormente a leitura na ?ntegra daqueles textos que abordavam o novo EF de maneira nuclear. Estas leituras evidenciaram obst?culos encontrados pelas unidades escolares e pelas redes de ensino em rela??o ? amplia??o e implementa??o do EF de nove anos. Considerou-se v?lido, ent?o, investigar, a partir dos aportes da teoria Hist?rico-cultural, o que revelam os discursos dos coordenadores pedag?gicos em rela??o ? implanta??o e implementa??o do EF de nove anos (EF9A), com especial interesse em: i) Historiar como ocorreu a implanta??o e implementa??o do EF9A; ii) Descrever e analisar a constru??o do curr?culo do EF9A, para o 1? ano, do munic?pio de Itajub?; iii) Investigar a metodologia proposta para as pr?ticas pedag?gicas e a inser??o da atividade l?dica, junto ?s crian?as de seis anos e iv) Analisar documentos orientadores da proposta pedag?gica publicados pelas inst?ncias Federal, Estadual e Municipal. Para a investiga??o optou-se por entrevistas semi-estruturadas com coordenadores pedag?gicos da rede municipal de Itajub?, com pelo menos dez anos de experi?ncia com a implementa??o do novo EF no referido munic?pio; o conjunto de entrevistados ? composto por 05 supervisores. Foram organizados dois eixos de an?lise i) Historiando a implanta??o/implementa??o do EF9A em Itajub?MG evid?ncias a partir que quem as vivenciou e ii) dicotomia entre brincar e aprender (a ler e escrever); ass an?lises qualitativas pautam-se nos estudos de Vigotski e colaboradores. Esperamos que com esta pesquisa, a partir da an?lise de percurso da experi?ncia do munic?pio de Itajub? ao longo de uma d?cada, possamos contribuir para reflex?es sobre os modos pelos quais novas pol?ticas p?blicas s?o implantadas/implementadas no Brasil, no que se refere ? constru??o de novos curr?culos, pr?ticas pedag?gicas e forma??o de professores.
7
Souza, Zelmielen Adornes de. "CONSTRUINDO A DOCÊNCIA COM A FLAUTA DOCE: O PENSAMENTO DE PROFESSORES DE MÚSICA." Universidade Federal de Santa Maria, 2012. http://repositorio.ufsm.br/handle/1/6996.
Full textAbstract:
This master thesis was developed within the Line of Research Education and Arts
(LR4) from the Postgraduate Program in Education at Federal University of Santa
Maria (UFSM) and is part of the research group FAPEM Formation, Action and
Research in Musical Education of UFSM. The research had as overall objective to
investigate the thinking of four music teachers, graduates from the Music Major
Teaching degree of UFSM, in the constitution process of teaching with the
recorder. As specific objectives, the study aimed at knowing what the music teachers
think about the recorder teaching; understanding the meaning of this musical
instrument in their lives and in their teaching practice; and reflecting upon the
recorder teaching in the field of musical education. In order to do that, the theoretical
framework was based on studies about teacher s thinking (PACHECO, 1995; BRAZ,
2006, 2007; MARUJO, 2004; BEINEKE, 2000; DEL BEN, 2001; among others) which
allowed us to reflect upon the meanings and connections among thinking, memory
and narrative in the interrelation between the teacher s thinking and doing towards
the recorder. Metodologically, the research was held by the thematic oral history
method (MEIHY, 2005; FREITAS, 2006), making use of procedures of data
production and analysis, respectively, narrative interview (JOVCHELOVITCH;
BAUER, 2008) and some strategies of grounded theory (CHARMAZ, 2009). Though
this investigation, we were able to know the music teachers histories and their
thinking, represented by some of their constructs, ideas, beliefs, knowledge, values,
perspectives, etc., which are expressed in their memories-references (JOSSO, 2010)
to teach the recorder. In this process, we realized that their thoughts are connected
to ratio-affective factors (BAGGIO; OLIVEIRA, 2008) that permeate their experiences
with this musical instrument in different moments of their lives, as both music
students and teachers, who advance in and give meanings to their current
pedagogic-musical practices. Finally, we have understood that these teacher s
thinking, about the recorder teaching, constitutes an important dimension in each
teacher s formative process, affecting and constituting them, because only in the
relation between thinking and doing these professionals learn how to be music
teachers with the recorder.A presente dissertação foi desenvolvida na Linha de Pesquisa Educação e Artes (LP4) do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria (UFSM) e vincula-se ao grupo de estudos e pesquisas FAPEM Formação, Ação e Pesquisa em Educação Musical da UFSM. A pesquisa teve o objetivo geral de investigar o pensamento de quatro professores de música, egressos do curso de Música - Licenciatura Plena da UFSM, no processo de constituição da docência com a flauta doce. Como objetivos específicos, buscou-se conhecer o que pensam os professores de música sobre o ensino de flauta doce; compreender o significado desse instrumento musical em suas vidas e em sua prática docente; e refletir sobre o ensino de flauta doce no âmbito da educação musical. Para tanto, o aporte teórico constituiu-se de estudos sobre o pensamento do professor (PACHECO, 1995; BRAZ, 2006, 2007; MARUJO, 2004; BEINEKE, 2000; DEL BEN, 2001; entre outros) que possibilitaram refletir sobre os significados e as conexões entre o pensamento, a memória e a narrativa na interrelação entre o pensar e o fazer docente com a flauta doce. Metodologicamente, a pesquisa foi desenvolvida pelo método da história oral temática (MEIHY, 2005; FREITAS, 2006), utilizando como procedimentos de produção e análise dos dados, respectivamente, a entrevista narrativa (JOVCHELOVITCH; BAUER, 2008) e algumas estratégias da teoria fundamentada (CHARMAZ, 2009). Através da investigação, foi possível conhecer as histórias dos professores de música e seus pensamentos, representados por alguns de seus construtos, ideias, crenças, conhecimentos, valores, perspectivas, etc., os quais estão expressos em suas recordaçõesreferências (JOSSO, 2010) para ensinar flauta doce. Neste processo, observou-se que seus pensamentos estão ligados a fatores racioafetivos (BAGGIO; OLIVEIRA, 2008) que permearam as suas vivências com esse instrumento musical em diferentes períodos de suas vidas, tanto enquanto alunos como quando professores de música, os quais movem e dão sentidos as suas atuais práticas pedagógicomusicais. Por fim, chegou-se a compreensão de que o pensamento desses professores, sobre o ensino de flauta doce, constitui-se em uma dimensão importante no processo formativo docente de cada um, afetando-o e constituindo-o, visto que é na relação entre o pensar e o fazer, que esses profissionais estão aprendendo a ser professores de música com a flauta doce.
Books on the topic "Music theory fundamentals"
1
Johnson, Marjorie Scott. Music fundamentals. Norfolk, Va: Gatehouse Publishers, 1993.
Find full text
2
Gelineau, R. Phyllis. Understanding music fundamentals. 2nd ed. Englewood Cliffs, NJ: Prentice-Hall, 1992.
Find full text
3
Gelineau, R. Phyllis. Understanding music fundamentals. Englewood Cliffs, N.J: Prentice-Hall, 1987.
Find full text
4
Understanding music fundamentals. 2nd ed. Englewood Cliffs, NJ: Prentice Hall, 1991.
Find full textBook chapters on the topic "Music theory fundamentals"
1
Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory, 3–15. Second edition. | New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315305394-1.
Full text
2
Terefenko, Dariusz. "Music Fundamentals." In Jazz Theory Workbook, 3–6. New York ; London : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429445477-1.
Full text
3
Snoman, Rick. "Fundamentals of music theory." In Dance Music Manual, 229–36. Fourth edition. | Abingdon, Oxon ; New York, NY : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429453830-19.
Full text
4
Court, Suzanne. "Teaching Music Theory Fundamentals Creatively." In Teaching Creatively and Teaching Creativity, 87–100. New York, NY: Springer New York, 2012. http://dx.doi.org/10.1007/978-1-4614-5185-3_7.
Full text
5
"Music Fundamentals." In Jazz Theory, 27–42. Routledge, 2014. http://dx.doi.org/10.4324/9780203380000-9.
Full text
6
"Music Fundamentals." In Music Theory Through Improvisation, 44–63. Routledge, 2013. http://dx.doi.org/10.4324/9780203873472-8.
Full text
7
Dickinson, Stefanie. "Music Fundamentals Games." In The Routledge Companion to Music Theory Pedagogy, 37–44. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-7.
Full text
8
Snodgrass, Jennifer. "Pedagogy of Fundamentals and Diatonic Harmony." In Teaching Music Theory, 125–60. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0005.
Full textAbstract:
The earliest levels of the undergraduate music theory core might be some of the more challenging courses to teach. Because students enter the undergraduate theory core with a variety of backgrounds, experiences, and knowledge, instructors face the challenge of inspiring some students with new material while keeping the more experienced students involved. How can educators make this material both relevant and engaging for all students? Teaching the lower levels of written theory is more than just memorization of patterns and rules; it is an opportunity to engage students in creative music making from the very first day with an introduction that helps them understand why a certain element of music works. By participating in engaging and creative methods of learning scales, key signatures, intervals, triads, harmonic function, and voice leading, students are immersed in a music experience that is more than just printed notes on the page.
9
Hoag, Melissa. "Putting the Music in “Music Fundamentals”1." In The Routledge Companion to Music Theory Pedagogy, 13–21. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-3.
Full text
10
"Music Theory Part 3 – Fundamentals of EDM Rhythm." In Dance Music Manual, 55–64. Routledge, 2013. http://dx.doi.org/10.4324/9780203383643-10.
Full textConference papers on the topic "Music theory fundamentals"
1
Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
Full textAbstract:
The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
2
Takamatsu, Yusuke. "Synthese als Modus der Prozessualität bei Schubert: Sein spezifisches Wiederholungsprinzip im langsamen Satz." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.73.
Full textAbstract:
In contrast to Beethoven’s music, Schubert’s music has been described through the concept of “a-finality” (Fischer 1983), employing the same elements repeatedly. In this sense, Schubert’s music seems incompatible with the kind of “processual” thinking which is typical for Beethoven’s music. This paper addresses such incompatibility through a comparison of the slow movements of Schubert’s piano sonata D 840 with those of Beethoven’s piano sonata No. 8 (op. 13) which is one of the possible precursors for D 840. The second movement of D 840 features an ABABA structure in which the themes of the first part A and the first part B become integrated into the second part A. This kind of integration differs fundamentally from the design of Beethoven’s op. 13, insofar as the two themes are combined while they also maintain their initial form. This mode of combination suggests Schubert’s own type of synthetic or “processual” thinking.
3
Gonçalves, Clara Germana, and Maria João Dos Reis Moreira Soares. "Le Corbusier: architecture, music, mathematics: longing for classicism?" In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.791.
Full textAbstract:
Abstract: This paper aims to study the role of the relationships between architecture, music and mathematics in Le Corbusier's thought and work and their relevance in his reinterpretation of classical thinking. It seeks to understand to what extent working with this triad – a foundational and, up until the seventeenth century, dogmatic aspect of architecture in general and of its aesthetics in particular – expresses a will not to break with the fundamental and defining aspects of what could be considered as architectural thought rooted in classical tradition: that which is governed by the will to follow the universal order in the work of art; building a microcosmos according to the macrocosmos; linking, in proportion to one another, the universe, man and architecture. The Modulor presents itself as a manifestation of that will, synthesizing these aspects while proposing itself as an instrument for interdisciplinary thought and practice in which the aforementioned aspects of classical thought are present, clearly and pronouncedly. Le Corbusier’s thought and work presents itself as a twentieth century memory of an ancient and ever present tradition conscious of its struggle for “humanity”. Resumen: Este artículo pretende estudiar el papel de la relación entre arquitectura, música y matemática en el pensamiento y la obra de Le Cobusier y su significado en su reinterpretación del pensamiento clásico. Intenta entender en qué medida con esta triada – aspecto fundacional y hasta el siglo XVII dogmático de la arquitectura, en general, y de su estética, en particular – Le Corbusier expresa su recusa por cortar el vínculo con los aspectos fundamentales y definidores de lo que puede considerarse un pensamiento de tradición clásica en arquitectura: aquel tutelado por la voluntad de seguir el orden universal en la obra de arte – construyendo un microcosmos según un macrocosmos – para así vincular, a través de la proporción, universo, Hombre y arquitectura. El Modulor se presenta como manifestación de esa voluntad, sintetizando estos aspectos y presentándose como un instrumento para un pensamiento y una práctica interdisciplinares en los cuales el pensamiento clásico se encuentra clara y marcadamente presente. El pensamiento de Le Corbusier, través su mirada hacia la relación arquitectura-música-matemática, se presenta, en el siglo XX, como una memoria de una antigua y siempre presente tradición, consciente de su busca por “humanidad”. Keywords: Le Corbusier; Architecture, music and mathematics; classical thought; Modulor. Palabras clave: Le Corbusier; Arquitectura, música y mathematica; pensamiento clásico; Modulor. DOI: http://dx.doi.org/10.4995/LC2015.2015.791
4
Nedyalkov, Ivaylo. "The Fluids Rap: It’s All About Flow." In ASME 2020 Fluids Engineering Division Summer Meeting collocated with the ASME 2020 Heat Transfer Summer Conference and the ASME 2020 18th International Conference on Nanochannels, Microchannels, and Minichannels. American Society of Mechanical Engineers, 2020. http://dx.doi.org/10.1115/fedsm2020-20303.
Full textAbstract:
Abstract Most of the currently-enrolled undergraduate engineering students grew up with exposure to social media websites like Facebook and Youtube. Making sure that students are not distracted by their mobile devices in class has become more challenging, and one way to address the issue is to present engineering in a more entertaining and engaging way. A rap song about fluid mechanics was created by the author for entrainment, outreach, and education purposes. The song covers the fundamentals of fluid mechanics and mentions some theoretical basics, as well as some of the most widely used computational fluid dynamics and experimental fluid dynamics techniques. The song was written with the intention to be entertaining and educational — the goal was that someone with no prior fluid mechanics background will be able to understand it after spending 10–20 minutes reading through the lyrics explanations. A music video was produced for the song. The video production was sponsored by the American Society of Mechanical Engineers and includes visuals of experimental facilities and equipment. The paper provides the background of the project, marketing plans, some of the lessons learned, the lyrics, and the explanations of the lyrics.
5
Huber, Annegret. "Die Pianistin spricht. Überlegungen zur Epistemologie von Vertonungsanalysen und ihrer Funktion in musikwissenschaftlicher Forschung." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.83.
Full textAbstract:
There is nothing fundamentally wrong with the premise that a pianist like Clara Wieck/Schumann ‘speaks’ in her song compositions. This, however, raises a number of epistemological questions that will be discussed in this article. First of all, an explicit distinction is made between the examination of the ‘technical’ aspects of her compositional practice – in German: Praktik – (which may allow conclusions to be drawn about the pianist’s implicit knowledge) on the one hand, and the social aspects of her discursive practice – in German: Praxis – on the other. Thus, it is also necessary to discuss the criteria that the structural-analytical methodology must satisfy, as well as to consider to whom the pianist is actually speaking: to us music researchers of the 21st century? Or should we ask ourselves whether our analysis is not rather a “reading of traces” in the sense of Sybille Krämer, through which we invent the ‘producer’ of the analyzed ‘trace’ in the first place? Or to put it another way epistemologically: how do we make the pianist speak? What function does our ‘speaking’ of her compositions – namely the piano parts in her songs – have in scholarly argumentations?
6
Koguchi, Hideo, and Kazuhisa Hoshi. "Evaluation of Joining Strength of Silicon-Resin Interface at a Vertex in 3D Joint Structure." In ASME 2011 Pacific Rim Technical Conference and Exhibition on Packaging and Integration of Electronic and Photonic Systems. ASMEDC, 2011. http://dx.doi.org/10.1115/ipack2011-52065.
Full textAbstract:
Portable electric devices such as mobile phone and portable music player become compact and improve their performance. High-density packaging technology such as CSP (Chip Size Package) and Stacked-CSP is used for improving the performance of devices. CSP has a bonded structure composed of materials with different properties. A mismatch of material properties may cause stress singularity, which lead to the failure of bonding part in structures. In the present paper, stress analysis using boundary element method and an eigenvalue analysis using finite element method are used for evaluating the intensity of singularity at a vertex in three-dimensional joints. Three-dimensional boundary element program based on the fundamental solution for two-phase isotropic materials is used for calculating the stress distribution in a three-dimensional joint. Angular function in the singular stress field at the vertex in the three-dimensional joint is calculated using eigen vector determined from the eigenvalue analysis. The joining strength of interface in several kinds of sillicon-resin specimen with different triangular bonding areas is investigated analytically and experimentally. Experiment for debonding the interface in the joints is firstly carried out. Stress singularity analysis for the three-dimensional joints subjected to an external force for debonding the joints is secondly conducted. Combining results of the experiment and the analysis yields a final stress distribution for evaluating the strength of interface. Finally, a relationship of force for delamination in joints with different bonding areas is derived, and a critical value of the 3D intensity of singularity is determined.
7
Koguchi, Hideo, and Masato Nakajima. "Evaluation of the Bonding Strength at the Three-Dimensional Vertex in Silicon-Resin Joints." In ASME 2009 InterPACK Conference collocated with the ASME 2009 Summer Heat Transfer Conference and the ASME 2009 3rd International Conference on Energy Sustainability. ASMEDC, 2009. http://dx.doi.org/10.1115/interpack2009-89091.
Full textAbstract:
Portable electric devices such as mobile phone and portable music player become compact and also their performance improves. High density packaging technology such as CSP (Chip Size Package) and Stacked-CSP is needed to realize advanced functions. CSP is a bonded structure composed of materials with different properties. A mismatch of material properties may cause stress singularity at the edge of interface, which lead to the failure of bonding part in structures. Singular stress field in residual thermal stresses occurs in a cooling process after bonding the joints at a high temperature. In the present paper, the strength of interface in CSP consisted of silicon and resin is investigated. Boundary element method and an eigen value analysis based on finite element method are used for evaluating the intensity of singularity of residual thermal stresses at a vertex in a three-dimensional joint. Three-dimensional boundary element program based on the fundamental solution for two-phase isotropic body is used for calculating the stress distribution in the three-dimensional joint. Angular function in the singular stress field at the vertex in the three-dimensional joint is calculated using eigen vector determined from eigen analysis. The strength of bonding at the interface in several silicon-resin specimens with different thickness of resin is investigated analytically and experimentally. Stress singular analysis applying an external force for the joints is firstly carried out. After that, singular stress field for the residual thermal stresses varying material property of resin with temperature is calculated. Combining singular stress fields for the external force and the residual thermal stress yields a final stress distribution for evaluating the strength of interface. A relationship between the external force for delamination in joints and the thickness of resin is derived. Finally, a critical intensity of singularity for delamination between silicon and resin is determined.
Reports on the topic "Music theory fundamentals"
1
Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.
Full textAbstract:
We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.