Dissertations / Theses on the topic 'Musical instruments collections'

The central theme of this thesis deals with problems related to the question, "Can one hear the shape of a drum?" first posed formally by Mark Kac in 1966. More precisely, can one determine the shape of a membrane with fixed boundary from the spectrum of the associated differential operator? For this paper, Kac received both the Lester Ford Award and the Chauvant Prize of the Mathematical Association of America. This problem has received a great deal of attention in the past forty years and has led to similar questions in completely different contexts such as "Can one hear the shape of a graph associated with the Schrodinger operator?", "Can you hear the shape of your throat?", "Can you feel the shape of a manifold with Brownian motion?", "Can one hear the crack in a beam?", "Can one hear into the sun?", etc. Each of these topics deals with inverse eigenvalue problems or related inverse problems. For inverse problems in general, the problem may or may not have a solution, the solution may not be unique, and the solution does not necessarily depend continuously on perturbation of the data. For example, in the case of the drum, it has been shown that the answer to Kac's question in general is "no." However, if we restrict the class of drums, then the answer can be yes. This is typical of inverse problems when a priori information and restriction of the class of admissible solutions and/or data are used to make the problem well-posed. This thesis provides an analysis of shapes for which the answer to Kac's question is positive and a variety of interesting questions on this problem and its variants, including cases that remain open. This thesis also provides a synopsis and perspectives of other types of "can one hear" problems mentioned above. Another part of this thesis deals with aspects of direct problems related to musical instruments.
M.S.
Masters
Mathematics
Sciences
Mathematical Science; Industrial Mathematics

Thesis (D.M.A.)--Conservatory of Music and Dance. University of Missouri--Kansas City, 2008.
First piece for amplified clarinet and fixed electronic media, the second piece for electric guitar and fixed electronic media, and the third piece for amplified high voice (soprano or tenor) and fixed electronic media. "A dissertation in music composition." Advisor: Paul Rudy. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Apr. 14, 2009 Online version of the print edition.

The Haydn Trumpet Concerto and the Hummel Trumpet Concerto are two of the most important concertos in the solo trumpet repertoire and the cadenza reflects the performer's personality and technical abilities. There have been numerous recordings of the two concertos and they are consistently used in performance and as a pedagogical tool. This document contains both published cadenzas and transcriptions of recorded cadenzas from the first and last movements of the Haydn Trumpet Concerto and the Hummel Trumpet Concerto.This study begins with an investigation of the concepts and historical information related to the keyed trumpet and classical cadenzas. It includes a discussion of the historical significance of the keyed trumpet, brief biographies of Anton Weidinger, Joseph Haydn and Johann Hummel, and a study of the stylistic traits of cadenzas of other brass instruments from the classical period.Following the introductory five chapters, chapter six contains the compilation of transcribed and published cadenzas. The cadenzas are cross-referenced in a table located at the beginning of the chapter. Each cadenza includes information about the recording and/or publisher from whom the cadenza is available. The cadenzas were transcribed from recordings, transposed for Trumpet in E-flat and entered into Finale 98.This study is meant to be a reference tool that performers and instructors can employ for the study and performance of various cadenzas. The writer hopes that this collection will provide inspiration and will serve as a guide for those who wish to compose a personal cadenza that highlights their own strengths and preferences.
School of Music

Music Education
Ph.D.
The purpose of this study was to determine Pennsylvania public high school instrumental music teachers' perceptions of changes to instrumental music instruction that may have been the result of a narrowing focus on student performance on standardized tests and sanctions linked to the No Child Left Behind Act of 2001 (2002). The study used a descriptive design to investigate ways that standardized testing may have influenced student opportunities to participate in school instrumental music, instructional time available for instrumental lessons and performing ensembles, budgetary resources and funding sources, staffing, and instrumental music curricula in Pennsylvania high schools. Data were gathered via an anonymous web-based survey. Of the entire population of 710 full-time high school instrumental music teachers in Pennsylvania, 304 responded. Of those, 247 successfully completed the survey and were appropriate for analysis. Results suggested that across PA high schools, instrumental music opportunities were varied and inconsistent with regard to instructional time, financial resources, access and availability of students, and support for instrumental music within the larger curriculum of the schools. These inconsistencies may have resulted in unequal opportunities to participate in instrumental music programs, partially because of funding and policy priorities at the state and local level that value test-based accountability rather than more comprehensive methods of evaluating child development and learning. Prior research suggested that opportunities to participate in instrumental music were linked to individual and group standardized test performance. Schools in very large urban districts with high percentages of low-income and minority students were the most likely to face reductions in instrumental music opportunities. Implications included the possibility of inequitable reductions to music programs potentially undermining efforts to help reduce or prevent achievement gaps. Reductions in instrumental music opportunities for elementary level students was a particular concern since neurobiological research findings suggest special benefits for early childhood music instruction. Recommendations for further research included replication of the study using identifiable data, case studies of individual high schools, the continuation and expansion of longitudinal studies between neuroscientists and music educators, and a survey of school administrator attitudes toward music education.
Temple University--Theses

This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.
M.A.
Department of Sociology
Sciences
Applied Sociology

Music Education
Ph.D.
The purpose of this study was to examine the effect of instructional videos on the performance achievement of fifth grade instrumental students. The design of the study was pretest-posttest control group experimental. Participants (n = 84) were volunteers selected from fifth grade students enrolled in Garnet Valley School District in Glen Mills, PA, who had participated in the band program for at least one full year. Students were assigned a short etude composed by the researcher to practice for an evaluation. Prior to treatment, each student was recorded performing the etude as a pretest. All students received identical instruction and modeling of the etude during their weekly school lesson. In addition to the weekly school lesson instruction, a Video Practice Group (VP) (n = 42) was given access to a video of the teacher instruction and modeling of the etude for use during home practice, and the Non-Video Practice Control Group (NVP) (n = 42) practiced the etude under usual practice conditions. Each week, participants submitted a practice record detailing the amount of time spent practicing the etude. Following three weeks of treatment, all participants recorded a performance of the etude. Pretest and posttest recordings were scored by the researcher using the researcher-designed Etude Scoring Form. One additional certified music teacher scored a random selection of 15% of the student recordings as a reliability judge. Comparison of pretest and posttest scores showed that overall gain scores for participants in the Video Practice group were significantly greater than the Non-Video Practice Group (F(1,82) = 20.68, p < .001, ηp2 = .201), with significant interactions in the categories of rhythm (F(1, 82) = 9.45, p = .003), fluency, F(1, 82) = 9.97, p = .002), and articulation, F(1, 82) = 8.07, p = .006). No significant interactions were found for instrument type or participant school. There was no significant difference in reported practice time between the two groups, and practice time was positively correlated with posttest scores.
Temple University--Theses

Music Education
Ph.D.
The purpose of this instrumental case study was to describe the ways two elementary general music teachers participating in a teacher collaboration group (TCG) used reflective strategies in their classrooms. The following questions initially framed the case: When these two teachers engaged in reflective strategies, (1) What did they notice about their students’ performance and their own teaching practices? (2) What did they describe as the benefits and challenges of incorporating reflective strategies? and (3) What insights did they articulate as a result of their participation in a TCG? I (student investigator) invited two purposefully sampled elementary general music teachers to participate in a TCG focused on incorporating reflective strategies. In my interactions with the two teachers, I served three roles: researcher, facilitator, and colleague. The theoretical lens for this research was professional learning through collaboration. As researcher, I embraced the required tasks for this research, including studying existing literature, obtaining the necessary approvals, devising data collection tools, analyzing the data and drawing conclusions based on the data. Since I chose to conduct the research in the school district where I currently teach, I needed to be mindful of my professional relationships with all 10 of my elementary general music teacher colleagues, since the two of my elementary general music teacher colleagues participated in the TCG. Throughout the study I strove to maintain balance between my roles of researcher, facilitator and colleague as I drew on my review of research and practice literature on reflective strategies to make decisions throughout this research. To reduce over rapport during the study, I continually examined my motives for all choices, and sought to be mindful of how each choice affected research design, TCG agendas, and my colleagues’ professional responsibilities. I strove to identify sources of tensions relative to each of my roles, and remain as neutral as possible to each role during data analysis. The two teachers engaged in member checks, and I invited a critical friend with experience in qualitative research to serve as an auditor of the data. Based on my research on reflective strategies, I offered participants four reflective strategies, from which they chose one, to incorporate with a fourth grade general music class of their choice. Over seven months, the participants documented in their professional reflective journals what they noticed about their students and themselves while engaged in reflective strategies. The participants studied reflective practice independently and collaboratively. The participants completed two solo interviews and attended five group meetings. Data sources for this study were transcripts of TCG meetings and interviews, researcher’s field notes, participants’ professional reflective journals, and artifacts of student work shared with parent consent and student assent: video recorded teaching examples and students’ written classwork, both of which participants shared during TCG meetings. I studied the transcripts and professional reflective journals for emerging patterns and themes. Three themes emerged: Noticings About Students and Self, Learning About Students and Self, and Changing Attitudes and Beliefs about Teaching and Learning. The overarching theme, Sharing Experiences, served as the catalyst for participant noticing, learning, and changing. The participants reported that the use of reflective strategies designed for their elementary general music students informed their instruction and decision-making processes, and provided insights to their students’ levels of understanding. Additionally, the participants reported learning the value of reflection, both for themselves and for their students. The participants also reported that participating in the TCG as a form of collaborative professional development alleviated feelings of isolation and provided an opportunity for teachers to learn from one another in a professional environment. The research presented in this study has implications for teachers and administrators. Because of the benefits associated with engaging students in reflective strategies, teachers should consider how to include reflective opportunities appropriately as part of their instruction. Further, administrators should consider providing collaborative professional development opportunities for teachers of any subject area or grade level. The two elementary general music teachers in this research described gaining valuable insights regarding music teaching and learning by incorporating reflective strategies. Further, they valued the professional development in the form of the TCG, which developed over time and offered them an opportunity to reflect as partners who generated collective knowledge with each other as supportive peers, all while individually growing as teachers. Suggestions for future research include researching a curricular approach to implementing reflective strategies with PreKindergarten through 5th grade elementary general music students, reflective strategies elementary musical ensembles, investigating how reflective strategies relate to different approaches for teaching elementary general music, and exploring teacher collaboration groups consisting of music teachers from various grade levels or music teaching disciplines.
Temple University--Theses

Music Education
Ph.D.
The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song.
Temple University--Theses

Music Education
Ph.D.
The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song.
Temple University--Theses

Music Education
Ph.D.
The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song.
Temple University--Theses

O trabalho aqui apresentado incidiu sobre uma colecção de instrumentos musicais tradicionais portugueses da colecção particular Louzã Henriques cujo acervo se encontra no Museu Municipal de Coimbra. Pretende-se com este estudo saber o que o coleccionador pensa acerca desta colecção, o que esta representa enquanto elemento da música popular portuguesa que se constitui como um património musicológico insubstituível da cultura nacional de um país, bem como saber o que cada peça da colecção significa para o coleccionador descortinando um percurso e a história de vida de cada um dos artefactos. Para tal recorreu-se à análise das fichas de inventário, a entrevistas e conversas com o coleccionador e propôs-se um conteúdo expositivo tendo por base a função e o contexto social dos instrumentos musicais portugueses, conciliando esta óptica com uma alteridade e transversalidade das peças e ainda com o elemento estético no todo de um circuito expositivo, ilustrando aqueles que são os sons de um povo.
The work is focused on a collection of traditional portuguese musical instruments of the private collection Louzã Henriques, whose collection is at the Municipal Museum of Coimbra. The intention of this study is to know what the collector thinks about this collection, what this represents as an element of portuguese popular music that constituted itself as an irreplaceable national heritage index of the culture of a country and to know what each piece means to the collector's and reveals about the life story of each one of the artifacts. This analysis was carried out, resorted to the analysis of inventory records, interviews and conversations with the collector and it was proposed contents for a exhibition, based on the function and the social context of the portuguese musical instruments, combining this optical and this approach with a transversality of the parts with a complete aesthetic element of a expository circuit those who are the sounds of a people.

No ano de 2013, completaram-se cinco séculos de relações políticas, comerciais e culturais entre Portugal e a China. Ao longo deste período, a par de outras mercadorias, um considerável número de instrumentos musicais chineses também vieram para Portugal. A presente dissertação tem como principal objetivo informar os especialistas, musicólogos, etnomusicólogos e investigadores da área que Portugal tem um considerável acervo de instrumentos musicais chineses, distribuídos por diversas coleções públicas e privadas. A organologia chinesa em Portugal é rica e consistente, mas lamentavelmente não há estudos sistematizados nesta matéria. Mesmo em universidades, que integram um departamento de música, verifica-se a inexistência de uma disciplina ou de um seminário relacionados com a música e organologia chinesas. Iniciámos, em novembro de 2011, o levantamento organológico chinês existente em Portugal e, até fevereiro de 2014, em seis coleções circunscritas a Lisboa, fora já possível localizar cerca de quatro centenas de instrumentos musicais chineses. Este considerável número de espécies levou a que o nosso estudo se centrasse na coleção do Museu do Centro Científico e Cultural de Macau, em Lisboa, que integra um dos mais significativos conjuntos organológicos chineses. Como metodologia classificativa, adotámos, para além da Hornbostel/Suchs, utilizada no Ocidente, algumas das principais formas classificativas da organologia chinesa, a fim de melhor compreendermos a complexidade da erudita música e respectivo instrumental da civilização chinesa que, há mais de cinco mil anos, é considerada como arte fundamental para o equilíbrio das coisas celestiais e terrenas. Atendendo à especificidade da matéria em estudo, foi imprescindível recorrermos ao trabalho de campo. Se pretendemos estar atualizados no domínio dos Estudos Asiáticos, com especial destaque para a China, a sua música e respetiva organologia, torna-se imprescindível a criação de redes científicas com países asiáticos e ocidentais que detêm, há muito, competências nesta matéria. O conteúdo deste enunciado deverá ser considerado como a principal problemática da presente dissertação.
In 2013 we have celebrated five centuries of political, trading and cultural relationship between Portugal and China. It's natural that a great number of Chinese musical instruments has been brought to Portugal throughout this period alongside with other goods. Thus our main intention is to inform experts, musicologists, ethnomusicologists and researches on this subject that Portugal has a substantial Chinese organology heritage in several public and private collections. Pitifully, there is no Portuguese experts in Chinese organology, even in universities that have a music department. Considering only six collections in Lisbon, we were able to find more than four hundred Chinese musical instruments, during our research between November 2011 and February 2014. This considerable number of species motivated us to focus our study on the Macau Scientific and Cultural Centre Museum’s collection, which houses one of the most significant sets of Chinese musical instruments. In this study, we have followed international organology standards, the Hornbostel/Suchs included, alongside some of the main organological Chinese classification systems which allowed us to characterize the instruments in detail. We lay hold of fieldwork as well trying to solve some questions as they arose. If we want to be update in Asian organology and in Asian studies, the framework should be creating very strong scientific and academic networks within its borders and, then, a very good bonding with Asian and West countries counterparts.

O presente trabalho de projeto, constituído por uma componente conceptual e metodológica sobre a problemática da inventariação e da documentação, aplicada a coleções museológicas de instrumentos musicais, e por uma proposta de um guia de utilizador, tem o propósito de contribuir para o desenvolvimento de um sistema integrado de informação do Museu Nacional da Música e em particular para a qualificação do inventário da sua coleção instrumental comunicada em exposição permanente. Na sequência da criação do Comité Internacional dos Museus (ICOM) e do seu Comité Internacional da Documentação (CIDOC-ICOM), em meados do século XX, a documentação passou a ser considerada como uma das funções básicas das instituições museais. No entanto, em muitos museus, incluindo no nosso país, ainda é uma das funções mais negligenciadas e frequentemente muitas das tarefas que lhe dizem respeito são tratadas como “secundárias entre as prioridades quotidianas das equipas técnicas”, levantando sérios problemas na gestão dos bens culturais que constituem os acervos museológicos e que estão à guarda daquelas instituições. O diagnóstico aos procedimentos de documentação e inventariação do Museu Nacional da Música serve de base para uma proposta estrutural e de conteúdos de um guia de utilizador, abarcando todos os procedimentos de documentação e inventariação aplicados à coleção em estudo e contribuindo para a normalização do preenchimento dos campos de informação das fichas de inventário. Os contributos propostos para o guia são o resultado prático de uma compilação de procedimentos genéricos, adaptados à realidade do Museu, que apesar de procurarem ser independentes de qualquer software de gestão de coleções, são igualmente compatíveis com o Matriz 3.0, utilizado atualmente por esta instituição museológica.
This research project, constituted by a conceptual and methodological component on the problematic of the inventory and documentation applied to museological collections of musical instruments as well as by a procedures manual proposal, aims to contribute to the development of an integrated information system for the Museu Nacional da Música and in particular for the enhancement of the instrumental collection inventory communicated in its permanent exhibition. Following the creation of the International Council of Museums (ICOM) and its International Committee for Documentation (CIDOC-ICOM), in mid-twentieth century, documentation came to be considered as one of the basic functions of museological institutions. However, in many museums, including in Portugal, it is still one of the most neglected functions and many of the tasks related with documentation are repeatedly treated as “secondary among the daily priorities of technical teams”, raising considerable problems on managing the cultural objects that constitute the collections held by those institutions. The diagnosis of the documentation and inventory procedures in use at Museu Nacional da Música serves as basis for the development of a structural and contents proposal for a manual, capable of covering all the inventory and documentation procedures applied to the focused collection and managing to contribute for the normalization of the information in the inventory sheets. The contributions for the manual are the practical result of a compilation of generic procedures, adapted to the Museum’s reality, which despite seeking to be independent from any collection’s management software, are also compatible with Matriz 3.0, currently used by this museological institution.

Music Culture of the Elisabethan Convent in Prague Jakub Michl Abstract The Sisters of Saint Elizabeth (Elizabethan Nuns) were a spiritual order primarily focused on administering healthcare. Therefore, music was never the main focus of the order's activities, as it often was in others, particularly educational orders. However, thanks to the uninterrupted historical continuity of the Prague convent, which was exempted from the restrictions of Joseph II's era, many sources illustrating the convent music culture were preserved, including an extensive collection of music. The dissertation aims to describe this music culture in the context of the order structure and its personal hierarchy, as part of the city of Prague and its civic institutions, and in its everyday life and characteristics such as enclosure, hospital service and recreational activities. Music in convents was always tightly bound to liturgy. In the case of the Elizabethan order, significant music production was focused on the order's main liturgical feasts such as S. Elizabeth, S. Francis of Assisi, Porciuncula, Christmas, Epiphany, Easter and also memorial services for deceased patrons of the convent. The convent cooperated with many lay musicians and composers such as F. X. Brixi, Z. V. Suchý, F. X. Labler, J. N. Bayer, among others. At the...