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Carroll, Debra 1952. "Children's use of personal, social and material resources to solve a music notational task : a social constructivist perspective." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102794.
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In this inquiry, I examined how young children use their personal, social and material resources to solve a music notational task. I asked 13 children, ages 5-9 to notate a song they learned the previous week, sing it back, explain what they did and then teach the song to a classmate the following week. I used Lightfoot and Davis' concept of portraiture as a qualitative research methodology to collect, code, analyze and interpret my data. Data included the children's invented notations and videotaped transcripts of their actions as they created their notations and taught the song to a classmate. Sociocultural Vygotskian developmental theory, activity theory and Bakhtin's dialogic theory provided the interpretive lens through which I examined how the children used their resources as mediational tools to complete the task.<br>Findings revealed that children who had no previous music training used increasingly sophisticated representational strategies to notate a song, and that they were able to refine their notations when singing the song from their notation, teaching the song or when prompted by an adult or a peer. I concluded that the peer-peer situation was a motivating force for triggering a recursive process of reflections-on-actions and knowing-in-action. Classmates' questions, comments and their singing played a critical role in moving the children to modify their notations and their singing, verbal explanations and gesturing in ways they did not do alone or with me.<br>Analysis of the children's notations, verbal explanations and teaching strategies provided insights not only into what they knew about music, but also their appropriation of the cultural conventions of writing and their aesthetic sensibilities, as gleaned from their choice of symbols, colours and how they presented their symbols on the page. Interviews with parents, teachers and school principal provided contextual background for interpreting the children's notations and how they approached the task. This study shows the value of adopting a social constructivist approach to teaching the language of music. It also demonstrates that researching the products and processes of children's invented notations from a social constructivist perspective enables more detailed portraits of children's musical and meta-cognitive understandings.
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Wootton, Joan Elizabeth. "Teaching braille music notation to blind learners using the recorder as an instrument." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/50461.
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Thesis (PhD) -- University of Stellenbosch, 2005.<br>ENGLISH ABSTRACT: The researcher encountered the following problems while teaching braille IWSic notation
to blind learners at the Pioneer School in Worcester:
• Young learners learning to read braille IWSic notation with the piano as mediwn appeared
to struggle technically. For example, blind children experienced difficulty finding the
correct keys over seven octaves; they had generally weak posture; they had to learn to
play one part with one hand while the other hand would read; they had to memorise the
music for each clef individually and then combine them cognitively; they had to memorise
the soprano, alto, tenor and bass parts of a piece; they often experienced discouragement
because of the very slow progress they made compared with their sighted peers.
• Although learners seemed to find the recorder technically more manageable, currently
available braille recorder tutors proved to be inadequate. This inadequacy was a result of
the tutors having been designed for the sighted child.
The researcher thus set out to design a more appropriate approach than is currently
available for teaching braille music notation to the blind, with the recorder as medium.
The research method was qualitative and included a literature survey which covered the
following unique needs of the blind learner:
• psychological
• emotional and social
• concept development
• motor skills (orientation, laterality, posture, coordination)
• tactile perception
• creativity and self expression
The qualitative research also included video observation of a series ofiodividual
and group lessons. The lesson material emerged from a programme designed by the researcher and was based on the literatme study. An observation panel.
together with the researcher, evaluated the lessons on predetenDned coded
assessment criteria 'The lessons and progrannne were adapted according to
feedback from the lessons.
The qualitative research includes interviews with five blind learners and six
teachers of braille music notation. The interviews were designed to gather
information on how blind learners can more appropriately be taught the braille
music code.
The unique needs of blind learners, in particular those concerning orientation
and perceptual awareness, are considered in this alternative approach for
teaching braille music notation to blind learners. 'The alternative programme is
skills based and can be used convElliently in conlunetion with the Outcomes-
Based Education (OBE) modeL<br>AFRIKAANSE OPSOMMING: Die navorser het die volgende probleme ondervind tydens baar onderrig van braille
musieknotasie aan blinde leerders by Pionierskool in Worcester:
• Dit wil voorkom asofjong leerders wat braille musieknotasie moet aanleer met die klavier
as medium, tegniese probleme ondervind. Blinde kinders het dit byvoorbeeld moeilik
gevind om die korrekte toetse oor sewe oktawe te vind; oor die algemeen was hulle
houding swak; hulle moes leer om een stemparty met een hand te lees terwyl die ander
hand gespeel het; hulle moes die musiek vir elke sleutelteken apart memoriseer en die
stemme kognitiefbymekaar sit; hulle moes die sopraan, alt. tenoor en bas stempartye van
'n stuk memoriseer, hulle is baie keer moedeloos, weens hulle stadige vordering, in
vergelyking met hulle siende portuurgroep.
• A1hoewel dit gelyk het asof leerders die bioldIuit tegnies meer hanteerbaar gevind het,
blyk huidige beskikbare braille bloldluit handleidings nie geskik te wees nie. Hierdie
ontoereikendheid is as gevolg van die feit dat die handleidings vir die siende kind ontwerp
IS.
Derhalwe het die navorser gepoog om 'n meer toeganklike benadering te ontwikkel as wat
tans beskikbaar is vir die onderrig van braille misieknotasie aan die blinde, met die
bioldIuit as medium.
Die ondersoekmetode was kwalitatief van aard en het onder andere 'n literatuuroorsig
ingesluit wat die volgende unieke behoeftes van die blinde leerder ingesluit het:
• siellnmdig
• emosioneel en sosiaal
• konsep ontwikkeling
• motoriese vaardighede (oriëntasie, lateraliteit, houding, koOrdinasie)
• gevoelswaarneming
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HAHN, LOIS BLACKBURN. "CORRELATIONS BETWEEN READING MUSIC AND READING LANGUAGE, WITH IMPLICATIONS FOR MUSIC INSTRUCTION (NOTATION)." Diss., The University of Arizona, 1985. http://hdl.handle.net/10150/188032.
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There is evidence that the strategies used by fluent readers of written language and by fluent "sight-readers" of musical notation are much the same. Both require a background in the modality represented by the written symbols. Both require context for construction of meaning through sampling and prediction. In this study, a method of elementary music-reading instruction was developed in which musical notation is introduced in the context of musical patterns familiar to the students through earlier musical experiences. The focus is on melodic contour and rhythmic units, initially with no emphasis on exact pitch. An experimental study was conducted to compare the effectiveness of this method with a more traditional one in which the elements of notation are first introduced in isolation. Subjects for the study were two beginning string classes (fourth- through sixth-grade students) in geographically contiguous schools in a large school district in a southwestern city. There were two 30-minute classes per week. During the first two months, both groups were given identical pre-reading experiences, including rote playing, by the regular music teachers. Instruction in music reading, begun in the third month, consisted of eleven lessons administered to each group by the investigator. The testing instrument, designed by the investigator and used as pretest and posttest, consisted of initial measures of five children's songs, four of which were familiar to the children through rote experiences. While all of the subjects received zero on the pretest, posttest scores for both groups indicated growth in music reading. A t-test on the data permitted rejection of the null hypothesis and acceptance of the alternate hypothesis that the investigator-designed method was more effective than the traditional one in both the music-reading task and the sight-reading task.
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Caldwell, Rodney Hildred. "Rhythmic and metrical groupings of chant notation as an influence upon the conducting for the "Quatre motets sur des themes gregoriens", Op. 10, of Maurice Durufle." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187189.
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This project focuses on the relationship between plainchant notation and the conducting gesture in the Quatre Motets Sur Des Themes Gregoriens, Op. 10 of Maurice Durufle. Durufle's intimate knowledge of the chant practices of the Solesmes school of chant interpretation is a major influence in the compositional style of the four motets. This project explores the relevance of the Solesmes interpretational practices and their influence on Durufle's compositional technique. The conducting gesture employed in the realization of the motets must demonstrate an active knowledge of the compositional techniques employed and the Solesmes interpretational practices. As such the incorporation of traditional Gregorian Chironomy into a working gesture for use in the rehearsal and performance of the motets is the essence of this project.
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Hessel, Eric. "Addressing Technical and Musical Demands of Contemporary Music for Horn through Newly-Composed Etudes." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538667/.
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Contemporary music for horn often requires techniques and musical or notational considerations that are unconventional with respect to the standard pedagogy of the instrument. As such, these considerations often represent a level of challenge to which the average-intermediate to advanced-hornist is unprepared to approach or altogether unfamiliar. The most prominent of these demands arising in the last few decades of the twentieth century through today include microtonality (such as extended just intonation and quarter tones), extended techniques in combination or juxtaposition (such as multiphonics and right hand technique), rhythmic complexity (including metric modulation, non-dyadic meters, additive rhythms, and nested tuplets), and unconventional notations (graphic, spatial, and other temporal notations). This document first surveys the challenges of the repertoire in question, which includes works by György Ligeti, Thea Musgrave, Milton Babbitt, Brian Ferneyhough, Iannis Xenakis, Heinz Holliger, and Douglas Hill, among others. After considering the merits and limitations of existing pedagogical materials that work towards these ends, the document then underlines a strategic pedagogical goal for understanding and approaching unconventional contemporary repertoire through newly-composed etudes. This document is written in conjunction with and justification for the author's 24 Unconventional Etudes for Horn, and includes examples therefrom.
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Li, Hanhan. "Stephen Chatman's Piano Fantasies (1993): An Instructional and Performance Guide for Teachers and Intermediate Piano Students." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1505243/.
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Contemporary repertoire is not commonly taught or explored by teachers during the intermediate level, when a student's musical training is transitioning to an advanced level. Nonetheless, it is important for piano instructors to be open-minded about contemporary music and have some perspective on the development of music repertoire in the future. The purpose of this dissertation is to provide a performance and pedagogical guide to Stephen Chatman's (b. 1950) Fantasies, from both technical and artistic viewpoints. The collection, which consists of eleven pieces, features a wide variety of contemporary idioms, styles, and means of notation. For instance, there are jazz-like syncopated rhythms, asymmetrical accents reminiscent of Primitivism, and Impressionistic or dissonant sonorities. Fantasies is not only a valuable tool for students to explore new sounds and improve their performing techniques while executing nontraditional notations and contemporary idioms, it is also a great teaching resource for instructors to promote students' musicality through hearing, seeing, and thinking. In this study, I provide individual, detailed descriptions for each of the pieces in the score, adding examples on how to address the difficulties they present to the performer. As a result, instructors can better understand how to help students prepare to perform this collection and spark their interest in playing contemporary music.
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Brunner, Heather Nicole. "COLOR AND MUSIC: A REVIEW OF RESOURCES TO ENHANCE BEGINNING INSTRUCTION IN PIANO PEDAGOGY." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/316.
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This paper will examine color-coded musical notation. The history of color and music will be briefly explored before a more in-depth analysis of the widely available color-coded curriculums. Traditional method book formats will be examined for the potential integration of color-coded musical notation.
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Bartle, Lynne. "Addressing the idiosyncrasies of contemporary notation in recorder compositions, with specific references to unconventional symbols in Music for a bird by Hans-Martin Linde and Sieben Stucke fur altblokflote by Markus Zahnhausen." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/920.
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This treatise provides recorder performers and teachers with a guide to understanding the unconventional notation symbols encountered in Music for a Bird by Hans-Martin Linde and Sieben Stücke Für Altblockflöte by Markus Zahnhausen. Given the context of the overall history of notation, it argues that the idiosyncrasies of the unconventional notation symbols encountered in the recorder repertoire of contemporary composers such as Linde and Zahnhausen are by no means an anomaly. Throughout history, notated scores have functioned merely as incomplete guides to the reconstruction and the realization of musical works. Along with the decoding of these instructions, a host of acculturated meanings have always been taken for granted on the part of the writers of such guidelines. In the light of the modernist crisis and the resultant exacerbation of the gulf between composers and their audience, however, it would seem that the need for such acculturated intervention is greater then ever before. This treatise serves to bridge the gulf between the works of Linde and Zahnhausen on the one hand, and the average performer and teacher of the recorder on the other, by offering an analysis both of the meaning of the unconventional symbols these works contain as well as of the method according to which they should be executed on the recorder.
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Goodenough, Pammala K. "A comparison of computer-assisted and peer-partner practice in treble-staff note recognition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575082.pdf.
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Bechara, Silvia Regina de Camera Corrêa [UNESP]. "Jovens estudantes de música na cibercultura musical: facebook e educação musical 2.0." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/127999.
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000849513.pdf: 3486170 bytes, checksum: bd70e9a411e0645146f53c494821bd7c (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Minhas experiências com jovens em sala de aula, observando sua dinâmica em transitar em diferentes contextos - online, offline, escola, música - despertou em mim a curiosidade de entender melhor como se davam essas relações, e em que isso implicava em uma Educação Musical na contemporaneidade. Assim, a presente pesquisa trata das interações entre jovens estudantes de música e a cibercultura musical na mídia social Facebook, e suas implicações para a área de educação musical. Propõe também desvelar as articulações dos compartilhamentos vinculados à música com a formação musical de jovens estudantes de música entre 18 e 29 anos. Por meio de uma pesquisa de campo baseada em recursos etnográficos virtuais, os dados foram coletados via observação participante virtual no Facebook e entrevistas online assíncronas. O referencial teórico constitui-se um mosaico de conceitos: cultura musical, mundos musicais, compartilhar, cibercultura, cibercultura musical, pós-modernidade e Educação Musical. A interpretação dos dados é mostrada por intermédio de uma galeria de arte, na qual suas várias alas trazem as reflexões das práticas da cibercultura musical e a Educação Musical. Neste âmbito, os estudantes compartilham suas emoções, pensamentos e opiniões e utilizam o Facebook amplamente para divulgar seu trabalho. Os resultados mostram que o Facebook utilizado no dia a dia não traz muita contribuição para a formação musical dos estudantes participantes, porém se mostra uma ferramenta relevante para a construção do conhecimento musical, desde que mediado por um educador<br>My experiences with young people in the classroom, observing their dynamics in transit in different contexts - online, offline, school, music - awakened in me the curiosity to better understand how to get along these relationshi ps, and in what this implied a Musical Education contemporaneity. Thus, this research deals with the interactions between young music students and music cyberculture in Facebook social media and its implications for the field of music education. It also proposes to unveil the joints of shares linked to the music with the musical training of young music students between 18 and 29 years. Through a field research based on virtual ethnographic resources, data were collected via virtual participant observation Facebook and asynchronous online interviews. The theoretical framework constitutes a mosaic of concepts: musical culture, musical worlds, share, cyberculture, musical cyberculture, postmodernity and Music Education. Interpretation of the data is shown through an art gallery, in which its various wings bring the reflections of the practices of musical cyberculture and Music Education. In this context, students share their emotions, thoughts and opinions and use Facebook extensively to publicize their work. The results show that Facebook used in daily lives does not bring much contribution to the musical education of participating students, but it shows a relevant tool for the construction of musical knowledge from that mediated by an educator
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Bechara, Silvia Regina de Camera Corrêa 1984. "Jovens estudantes de música na cibercultura musical : facebook e educação musical 2.0 /." São Paulo, 2015. http://hdl.handle.net/11449/127999.
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Orientador: Margarete Arroyo<br>Banca: Iveta Maria Borges Ávila Fernandes<br>Banca: Daniel Marcondes Gohn<br>Resumo: Minhas experiências com jovens em sala de aula, observando sua dinâmica em transitar em diferentes contextos - online, offline, escola, música - despertou em mim a curiosidade de entender melhor como se davam essas relações, e em que isso implicava em uma Educação Musical na contemporaneidade. Assim, a presente pesquisa trata das interações entre jovens estudantes de música e a cibercultura musical na mídia social Facebook, e suas implicações para a área de educação musical. Propõe também desvelar as articulações dos compartilhamentos vinculados à música com a formação musical de jovens estudantes de música entre 18 e 29 anos. Por meio de uma pesquisa de campo baseada em recursos etnográficos virtuais, os dados foram coletados via observação participante virtual no Facebook e entrevistas online assíncronas. O referencial teórico constitui-se um mosaico de conceitos: cultura musical, "mundos musicais", compartilhar, cibercultura, cibercultura musical, pós-modernidade e Educação Musical. A interpretação dos dados é mostrada por intermédio de uma galeria de arte, na qual suas várias alas trazem as reflexões das práticas da cibercultura musical e a Educação Musical. Neste âmbito, os estudantes compartilham suas emoções, pensamentos e opiniões e utilizam o Facebook amplamente para divulgar seu trabalho. Os resultados mostram que o Facebook utilizado no dia a dia não traz muita contribuição para a formação musical dos estudantes participantes, porém se mostra uma ferramenta relevante para a construção do conhecimento musical, desde que mediado por um educador<br>Abstract: My experiences with young people in the classroom, observing their dynamics in transit in different contexts - online, offline, school, music - awakened in me the curiosity to better understand how to get along these relationshi ps, and in what this implied a Musical Education contemporaneity. Thus, this research deals with the interactions between young music students and music cyberculture in Facebook social media and its implications for the field of music education. It also proposes to unveil the joints of shares linked to the music with the musical training of young music students between 18 and 29 years. Through a field research based on virtual ethnographic resources, data were collected via virtual participant observation Facebook and asynchronous online interviews. The theoretical framework constitutes a mosaic of concepts: musical culture, "musical worlds", share, cyberculture, musical cyberculture, postmodernity and Music Education. Interpretation of the data is shown through an art gallery, in which its various wings bring the reflections of the practices of musical cyberculture and Music Education. In this context, students share their emotions, thoughts and opinions and use Facebook extensively to publicize their work. The results show that Facebook used in daily lives does not bring much contribution to the musical education of participating students, but it shows a relevant tool for the construction of musical knowledge from that mediated by an educator<br>Mestre
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Macfarlane, Clare J. "The effect of verbal discussion on musical expressiveness." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2268.
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In this study an attempt was made to measure the effects of verbal discussion on musical expressiveness. Subjects (N =30) were all members of a conservatory symphony orchestra. The subjects were divided into three groups: Group 1 was a listening and discussion group; Group 2 listening only; and Group 3 control group, no treatment. The study used a pre- and post-test design in which all the subjects were requested to play a given melody twice. Analysis of the data, using two-tailed t tests and ANOVAs, revealed no statistically significant differences among the three groups for the effect of verbal discussion on expressiveness. The subjects' self-reports, however, illustrated that they perceived a difference in their expressive playing.
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Zachariou, Antonia. "Musical play and self-regulation : an exploration of 6- and 8-year old children's self-regulatory behaviours during musical play sessions at Cypriot primary schools." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708961.
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Zwick, Robert A. (Robert Alan). "Jazz Improvisation: A Recommended Sequential Format of Instruction." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc330678/.
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The problem with which this study is concerned is that of developing a recommended sequential format for jazz improvisation instruction. The method of content analysis is used. Seventeen subject matter categories (instructional areas) are established upon which the data is analyzed. Coding instructions are constructed with adjustments for additional emphasis placed on the instruction areas by the respective authors. By selecting instructional areas recorded above the median per cent of emphasis, and co-ordinating these areas with the mean sequential introduction of each instructional area, a recommended format of instruction is developed.
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Irwin, Mark Stewart. "Teaching the way we learnt : a study in popular music education." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/59666/.
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Popular music education in the UK, and worldwide, has seen a significant expansion in the last two decades. As this new subject matures, scholars are beginning to fashion a new and more student-centred approach to learning and teaching: drawing on the informal learning practice found in popular music. Green (2006) defined the key characteristics of informal learning: allowing learners to choose the music; learning by listening and copying recordings; learning in friendship groups, with minimum adult guidance; learning in personal, often-haphazard ways; and integrating listening, playing, singing, improvising and composing. Informal musical learning is also facilitated through the use of recording as a technique for reflecting on, and improving one's own performance. These novel approaches to music education have begun to be applied by music educators, in a diverse range of contexts. Karlsen (2010) has correspondingly linked informal learning with ideas of authenticity, and communities of practice: social networks that provide individuals with access to learning through interaction with experienced ‘old-timers' as described by Lave and Wenger (1991). This thesis examines the way that seven musicians, teaching in one private UK Higher Education popular music institution, learnt their craft: firstly as musicians and subsequently as teachers. It asks how the way that these individuals acquired their skills and beliefs might impact on the way that they teach their students, and if this impact might be more effective if teachers were encouraged to reflect on their own learning, using that reflection to research, inform, and modify their own teaching practice. This work is particularly situated in small and medium size group teaching rather than the one to one teaching model found in classical music programmes, or in peripatetic music teaching. Furthermore, my work takes a structural-constructivist approach using the ideas of Bourdieu (1977, 1990a, 1993) as a theoretical lens, and drawing on the constructivist learning theory developed from the principles established by Vygotsky in the 1920's and 1930's (1930/1978).1 I argue that a hybrid approach to Bourdieu's notion of habitus (1990a, p.53) or the dispositions we adopt to the social world is crucial to understanding the way that we become musicians. Moreover, that the situatedness of musical and educational practice and the identity practices of learners and teachers are fundamental to the process of learning as a process of becoming (Lave and Wenger, 1991). Ergo, by recognising this process of learning as situated in social, cultural, historical, and technological contexts we may also facilitate metacognition (Flavell, 1979). By metacognition, I mean the ability to be reflexive2 as a learner or teacher; understanding the way that learning works, our beliefs about learning, and how those beliefs affect one's own learning and thus agency. Additionally, that notions of authenticity and creativity are vital to the effectiveness of musical learning practices, and the accumulation of social and cultural capital for popular musicians. My research methods include the use of open ‘semi structured' interviews (Leech, 2002) alongside observation in the classroom3 to generate empirical data. The primary research presented here is an Action Research Study: enabling the teachers in the study to retrieve their own experience of informal learning in order to facilitate informal learning practice in the music classroom. I suggest that these individuals recognise the importance of their own experience and are able to utilise, and learn from those experiences in developing approaches that are relevant, creative, and also authentic to their students. What this work also aims to do is establish links between theory and practice, and to identify potential mechanisms for engaging with our students' entire learning experience, whilst allowing them to understand the social and cultural process of musical learning. 1 This text is a collection of Vygotsky's work originally published in the 1920's and 1930's. 2 Reflexivity is a word used in sociology to describe how much agents are able to recognise the forces of social structure and therefore affect agency. 3 By classroom teaching, I mean small group (10-20 students) and exceptionally, larger group (40-60) teaching, as is the model for delivery at my institution.
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Bell, Jeffery E. "American musical theater songs in the undergraduate vocal studio : a survey of current practice, guidelines for repertoire selection, and pedagogical analyses of selected songs." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1026700.
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American musical theater songs are popular with the general public, and many college and university voice students are familiar with them. Some voice teachers also use musical theater repertoire to varying degrees in voice instruction. Such familiarity and interest lend significance to this study of the songs in a teaching context. There is therefore a need for the establishment of repertoire-selection guidelines and pedagogical analysis of selected musical theater songs so that additional teachers will become well informed.Following the introduction in Chapter One, the results of a survey sent to one hundred members of the National Association of Teachers of Singing are presented. The survey posed questions concerning the current use of musical theater songs. Among other things, the results revealed strong interest in the analysis and application of this literature in the voice studio. Guidelines for repertoire selection (also used by the author in selecting songs that address specific aspects of singing) are introduced in Chapter Three, along with a description of analytical procedures. Chapters Four through Eight include summaries of the analyses and suggested applications in the voice studio:Developing the ability to sing longer phrases"You'll Never Walk Alone" (Rodgers)"Where Is Love?" (Bart)"After the Ball" (Harris)• Developing the ability to sing wide intervals in a legato fashion "Lost in the Stars" (Weill)"Warm All Over" (Loesser)"Green Finch and Linnet Bird" (Sondheim)•Developing the ability to articulate words rapidly "My Darling, My Darling" (Loesser) "Seventy-Six Trombones" (Willson) "Soliloquy" (Rodgers)•Developing the ability to move smoothly between registers "Someone to Watch Over Me" (Gershwin) "Where or When" (Rodgers) "O1' Man River" (Kern)•Managing a large range and mature quality "Maria" (Bernstein)"Memory" (Lloyd Webber) "One More Kiss" (Sondheim)Conclusions in Chapter Nine include: (1) teachers should judge musical theater songs by the same criteria as other songs; (2) musical theater literature offers useful material for students who are striving to develop certain aspects of singing; (3) analyses of selected songs demonstrate their suitability for pedagogical use; and (4) there is a need for additional critical analysis of musical theater literature.<br>School of Music
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Chong, Kee Yong. "Multi-layered ethnic and cultural influences in my musical compositions." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31091/.
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In this doctoral thesis, I examine the influence of multi-ethnic cultures and heritage of East and Southeast Asia on my compositional development. Although the imitation of the outward features of other cultures is an important part of the attempt to compose cross-cultural pieces, such imitation is only one part of the learning process. The most difficult task is to make a meaningful cultural confluence out of these influences. My original contribution to music lies in the way in which I have activated the legacy of my multicultural Malaysian heritage and combined a strong focus on Chinese cultural traditions with a wider Malaysian context that involves theatre, philosophy, rituals, and spirituality. Over the past few years, I have composed cross-cultural works for traditional East and Southeast Asian and Western instruments, collaborating with multiple musicians in Asia, the United States, and Europe. The compositions discussed in this thesis reveal the various elements of my writing for Chinese instruments that are at once original and eclectic. I am particularly interested in incorporating various East and Southeast Asian musical practices such as Chinese dialect folk songs (especially Hakka storytelling and mountain songs), Gamelan music from South East Asia, Indian ritual and ceremonial music, ancient Chinese court music, and chanting of classical Chinese poetry, Korean Pansori music, and Japanese Gagaku music to create my own compositional techniques and languages. Using my compositions as examples, I illustrate the incorporation of East and Southeast Asian vocal and instrumental techniques into Western musical languages. In the first two chapters, I focus more on the importance of Chinese sources of poetry and philosophical thinking in a number of large-scale works. In the third chapter, I examine the key compositional roles played by elements such as sonic mobility and spatialisation, the interplay and interchange of roles in instrumental writing, and the concept of “living ornamentation” in creating heterophony and vocalisation, and present a detailed analysis of one of my works Yuan-Liu (2009). I explain how sonic mobility and spatialisation, as realised through unique instrumental setups in my compositions, are deeply informed by my childhood experience of listening to the acoustics of nature in the woods. In the concluding chapter, I discuss how I use the concepts of time, narrative, and cultural confluence in my music.
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Vail, Kimberly Gail. "Musical Priming and Operant Selection." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062812/.
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Language is a cultural construct, and the relationship between words is taught. Priming research has long investigated the relationship between related and unrelated words. Similar research has been seen in music relationships, but most of these investigate harmonic relations despite the melodic relationship being the one listeners are mostly likely to describe. Further, these studies typically measure existing relationships and do not attempt to teach a new relationship, nothing that most adults are experienced musical listeners. This study seeks to establish a new melodic relationship (the enigmatic Scale) in addition to a familiar one (the major Scale) while measuring response time to the musical sequences. A baseline was conducted in which participants listened to a musical sequence and selected via response box if the final note is consonant (major Scale) or dissonant (enigmatic Scale). Following baseline a training section occurred in which participants heard sequences ranging from 2-7 notes and were provided feedback for correct and incorrect responses. Following completion of the training participants completed a post-test identical to baseline. Behavioral results are discussed in relation to Palmer's (2009) concept of the repertoire.
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Hawkins, Cynthia Susan. "Aspects of the musical education of choristers in Church of England choir schools." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63228.
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Pullinger, Stuart. "A system for the analysis of musical data." Thesis, University of Glasgow, 2010. http://theses.gla.ac.uk/2133/.
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The role of music analysis is to enlighten our understanding of a piece of music. The role of musical performance analysis is to help us understand how a performer interprets a piece of music. The current work provides a tool which combines music analysis with performance analysis. By combining music and performance analysis in one system new questions can be asked of a piece of music: how is the structure of a piece reflected in the performance and how can the performance enlighten our understanding of the piece's structure? The current work describes a unified database which can store and present musical score alongside associated performance data and musical analysis. Using a general purpose representation language, Performance Mark-up Language (PML), aspects of performance are recorded and analysed. Data thus acquired from one project is made available to others. Presentation involves high-quality scores suitably annotated with the requested information. Such output is easily and directly accessible to musicians, performance scientists and analysts. We define a set of data structures and operators which can operate on musical pitch and musical time, and use them to form the basis of a query language for a musical database. The database can store musical information (score, gestural data, etc.). Querying the database results in annotations of the musical score. The database is capable of storing musical score information and performance data and cross-referencing them. It is equipped with the necessary primitives to execute music-analytical queries, and highlight notes identified from the score and display performance data alongside the score.
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Anderson, Elizabeth L. "Materials, meaning and metaphor : unveiling spatio-temporal pertinences in acousmatic music." Thesis, City University London, 2011. http://openaccess.city.ac.uk/3530/.
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This dissertation addresses two topics. The first is a preliminary investigation into the listening strategies for electroacoustic music by François Delalande. A listening experiment was undertaken to test Delalande’s strategies and to learn from listeners’ responses in order to apply them to compositional practice. This process prompted the conception of a new, integrated reception behaviour framework for electroacoustic music that comprises four listening strategies: sonic properties, structural attributes, self-orientation, and imaginary realms. The second topic is the poietico-esthesic analysis of the folio of acousmatic compositions from the perspective of the reception behaviours framework. The intention of the reception behaviours framework is to illuminate those sounds and structures in electroacoustic music that could be perceived as carriers of meaning. The analysis of the acousmatic compositions in the portfolio, from the perspective of the reception behaviours framework, aims to illustrate how the acousmatic composer can attempt to create meaning in an acousmatic work. While space is observed as the common denominator in the reception behaviours framework from an esthesic perspective, space and time are proposed as common denominators that carry all poietic intention. Hence, space and time can be seen as universal carriers through which meaning can subsequently be conveyed and perceived.
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Gardner, Thomas. "The effect of electronically mediated sound on group musical interaction : a case study of the practice and development of the Automatic Writing Circle." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1075/.
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The interaction between musicians has been one of the traditional strengths of music: it stretches to include an audience and ritual participants but has its origins in group activity, the interpersonal responses of one musician to another. This thesis examines the way that electronic media have transformed the interactions between musicians, particularly in the context of live performance. A central theme is the way in which mediatisation creates new splits within previously integrated musical situations and also merges differences usually defined by physical boundaries. The theories of Gregory Bateson on schizophrenia and Irving Goffman on Situationism are brought together to create a new understanding of the term "schizophonia". This rehabilitated concept is proposed as the key to a creative exploration of new situations and discontinuities which make up group performance in a mediatised environment. In practical terms the exploration of new musical situations is documented in the following projects: the material created for the group "Automatic Writing Circle" during its evolution over a period of six years (compositions, software, instruments), development of the Ouija Board and accompanying software, composition of the piece Lipsync and the earlier piece I slept by numbers for flute and live electronics.
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Fallowfield, Ellen. "Cello map : a handbook of Cello technique for performers and composers." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/960/.
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Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. The ‘map’ of the title is meant in the scientific sense of the word; connections are made between: ‘actions that a cellist makes’ and ‘sounds that a cello can produce’. In some cases, where existing scientific theory is insufficient to back up these connections, original empirical research has been undertaken and areas for further research have been suggested. Within this system there are no special effects, rather a continuum of actions with a clear relationship to sound.
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Elia, Marios Joannou. "Portfolio of compositions with accompanying commentary." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/367394/.
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The commentary focuses on the predominantly applied extraneous media in my music, that is, the inclusion of literary sources. The discourse begins with a biographical sketch (Chapter 1), followed by a succinct description of the concept of polymediality, which involves two dimensions: the work-immanent compositional and polymediality on the process of staging (Chapter 2). Chapter 3 considers literary sources as a constituent component of music's polymediality. The first part is preoccupied with the implementation of textual elements and vocality in instrumental works, with special reference to the orchestral piece AKANTHAI. Simultaneously, this section elucidates a series of fundamental architectural tools and aspects of the music, encompassing (a) the methodological advancement concerning analogous relationships, (b) the processing of linear transitions and polyphonic settings depending on the model of imitative interaction, (c) the polydimensional articulation of homogeneity, (d) the aspect of permanent fleetingness, (e) the different facets of hybridization and their implications, (f) the question of the musico-literary intermediality form, and (g) the concept of polyaesthetics. To this extent, the commentary reports on a research aiming at elaborating the hypothesis that musical and non-musical elements, like the literary sources, are mustered from a diversified spectrum of coherent principles. Turning to the example of the opera entitled DIE JAGD, the second part of Chapter 3 is concerned with the situative conditions resulting from the abrupt omission of the relationship to the libretto, whereby the focus is displaced 'outside' the textual frame of reference. Chapter 4 briefly highlights the scope of three further text-related parameters of the music in conjunction with their aesthetic issues: the specified titles of the works, the delineated expressive nuances, as well as the descriptive commentaries and textual depictions found on the score. Furthermore, the chapter outlines the consequences of two-dimensional theatricality and meta-theatricality. In conclusion, the commentary argues that the compositional procedure adopts literary references for the benefit of creating self-generated concepts. In other words, constituted within a plethora of musical and extra-musical elements, texts function as energetic catalytic stimuli; they become the key mechanism to enhance interactive system performance amidst the music's structural-strategic and conceptual framework.
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Ilzetzki, Ophir N. "Composition portfolio & written commentary." Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367321/.
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Interpreting a scored musical composition entails the composer’s relinquishing some control over the piece to the performer. In ‘open’ scores the composer relinquishes most control and in effect allows the performer to collaborate in the compositional process; in traditional scores the composer specifies as much as possible in order to leave little to no room for the performer to use personal judgment regarding interpretation. The principal focus of this portfolio will be to examine, through different scores and compositional techniques, a possible available spectrum between these two types of scores and to define more clearly different options presenting varying degrees of control over a score. The initial stimulus for this research stems from a fascination with alternative compositional scenarios that consequentially aid the creation of incidental musical materials that are not specified or scored. These moments resemble an improvisation in their immediacy of execution and erratic sound characteristics. Hence, it is this quality that many of the ‘open’ elements in these portfolio pieces try to extract, but not exclusively so. The thesis will also dwell on elements of performance psychology in attempts to better define the mechanisms at work in different interpretation/improvisation scenarios, as well as refer to non-classical musical traditions as an example of alternative didactic systems leading towards a non-score based, quasiimprovisational practice. Finally, each portfolio composition will be described in detail with a particular emphasis on its erratic sound-qualities, its ‘open’ element, or both.
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Goves, Lawrence. "Portfolio of composition with accompanying commentary." Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/367403/.
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This is the written commentary on a practice-based period of research. This research has focussed on the development of a substantial series of new musical compositions considering the development of unique and personal identity in composition. As well as broader technical consideration the commentary emphasises the incorporation of new technology and electronic media into composition, collaborations with other creative artists and performers and in developing vocal music with Matthew Welton, a literary collaborator. The commentary prioritises three main compositions; the terminus wreck for cello and electronics; My name is Peter Stillman. That is not my real name. for piano and electric piano and; Things that are blue, things that are white and things that are black. for piano, electric piano, prepared piano with clarinet/bass clarinet, cor anglais, horn, viola, cello and at least 16 violins. These are all substantial pieces between 15 and 30 minutes in duration for a variety of forces and, particularly between the two piano works, demonstrate a clear trajectory of development. Chapters are also dedicated to smaller-scale chamber works, vocal music, collaboration and the house of bedlam, a new ensemble formed as an element of the research.
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Howell, Timothy B. "Jean Sibelius : progressive techniques in the symphonies and tone-poems." Thesis, University of Southampton, 1985. https://eprints.soton.ac.uk/380485/.
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As an analytical and critical survey of Sibelius' symphonies and tone-poems, this study is designed to fill a significant gap in the research of this composer which hitherto has been primarily concerned with historical and musicological issues. Those analytical investigations which exist, typically as a supplement to more biographical concerns, have not made use of modern techniques nor are they comprehensive. Beyond this self-evident purpose of processing analytical findings, the thesis aims not only to demonstrate a symposium of Sibelius' compositional techniques but also to give a new perspective to these achievements. The layout and presentation of material has been designed to facilitate this dual purpose, dispensing with a mere catalogue of analyses in favour of grouping their findings into considerations of larger issues. Thus, Part I - 'The Symphonies' - reflects the layered analytical approach to each work in chapters which move from the general to the particular (Style, Form, Tonality, Thematic Process) selecting examples from the entire genre appropriate to each issue. The final chapter in this section concludes by synthesising those areas in a detailed analysis of a single work. Part II - 'The Tone-Poems' - opens with a more general discussion of the two genres in question revealing cChtrasts and consistencies. Thereafter, their survey divides into two apparently chronological sections, though in fact the distinction is a stylistic one and complements internal considerations of the symphonies themselves. The application of reductive, layered analysis appears to be new in this context and its findings reveal a more progressive compositional attitude than has previously been credited to a figure generally viewed as reactionary. Its evidence, notably in the areas of extended tonality and formal compression, suggests an historical placing for Sibelius within twentieth-century musical developments, indicating both his awareness of the problems facing composers of the period and his personal solutions. The final chapter discusses this essentially speculative topic, its more subjective standpoint balancing the analytical objectivity which constitutes the majority of the thesis. Its conclusion is modest: Sibelius as neither reactionary nor revolutionary, but, nevertheless, progressive.
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Borland, Denise. "The singer's psyche : a psychological approach to vocal performance training." Thesis, Edinburgh Napier University, 2011. http://researchrepository.napier.ac.uk/Output/4529.
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Bergmann, Carolina Giordano [UNESP]. "A relação do idoso com o aprendizado musical." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/95167.
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bergmann_cg_me_ia.pdf: 4441408 bytes, checksum: e2348df00dbc50d740c8b5407f138210 (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)<br>Esta pesquisa foi realizada na cidade de Campinas-SP, com idosos que frequentavam aulas de música do Curso de Extensão em Música Litúrgica da Arquidiocese de Campinas – CEMULC. O objetivo inicial da pesquisa foi saber qual a influência da educação musical na memória, concentração, coordenação motora, socialização e disposição, colhendo opiniões dos idosos que participaram das aulas. Buscou-se ainda compreender suas percepções e representações simbólicas acerca da música e do fazer musical, conhecer seus gostos e preferências e entender suas relações com a música. A pesquisa foi de caráter qualitativo, adotando-se a metodologia de estudo de caso. Usou-se a observação direta não participante e a realização de entrevista semiestruturada, com quatro idosos de diferentes turmas do curso, para a coleta de dados. O referencial teórico utilizado para a análise dos dados e a fundamentação da pesquisa se baseou em Ecléa Bosi, para tratar das questões referentes à memoria e lembranças; Simone de Beauvoir, que contribuiu com suas análises sociais e históricas a respeito do envelhecimento e da velhice; e no Tratado de Geriatria e Gerontologia, compêndio de artigos abordando diversos temas relacionados ao envelhecer. Na área de Educação Musical, buscou-se apoio em John Paynter e Murray Schafer, educadores musicais da segunda geração, que trabalham com a proposta de um ensino de música baseado na criatividade, no fazer musical e na escuta. A análise dos dados destacou alguns aspectos interessantes a respeito da educação musical e dos idosos, como a busca das aulas de música para a satisfação de um desejo ou necessidade, como se fosse a realização de um sonho que não pôde ser vivido anteriormente; a importância do apoio familiar para iniciar e dar continuidade aos estudos; a constatação de que os idosos têm capacidade de aprender coisas novas; e a contribuição da música para a melhoria da qualidade<br>This research was held in Campinas-SP, with ederley who attended music classes in the Extension Course in Liturgical Music of the Roman Catholic Archdiocese of Campinas – CEMULC. The initial goal of the research was to know the influence of musical education in memory, concentration, motor coordination, socialization and provision, reaping reviews of seniors who participated in lessons. Also, it tried to understand their symbolic representations and perceptions about music and making music, to know their tastes and preferences, and to understand their relationship with music. The research was qualitative, adopting the methodology of case study. It was used the direct non-participant observation and semistructured interviews, with four elderly of different classes of the course, to collect data. The theoretical reference used for data analysis and research basis was based on Ecléa Bosi, for issues relating to memory and recollections; on Simone de Beauvoir, who contributed with her social and historical analyses regarding aging and old age; and on Tratado de Geriatria e Gerontologia, compendium of articles addressing various issues related to aging. In the field of music education, we sought support in John Paynter and Murray Schafer, second-generation musical educators who worked with the proposal of music education based on creativity, making music and listening. Data analysis has highlighted some interesting aspects about musical education and elderly, as the pursuit of music lessons for satisfying a desire or need, as if it was a dream that could not be lived previously; the importance of family support for starting and continuing studies; the fact that the elderly have the capacity to learn new things; and the music’s contribution to improve quality of life when promoting integration and socialization, filling out free time and the use of intellectual and emotional capabilities
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Leavell, Brian K. ""Making the Change": Middle School Band Students' Perspectives on the Learning of Musical-Technical Skills in Jazz Performance." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277968/.
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Students' perspectives in jazz education have gone largely ignored. A modified analytic inductive design allowed me to look broadly at the students' jazz band experience while specifically investigating their views about playing individualized parts, improvising, and interpreting and articulating swing rhythms. A focus group procedure was altered (Krueger, 1995) and incorporated into my teaching of 19 students. Two 30 minute sessions per week over a 12 week period were video- and audiotaped. Audiotaped exit interviews provided data in a non-social environment. All data were transcribed and coded in order to identify major themes and trends. Conclusions were verified through member checks, several types of triangulation and other qualitative analysis techniques. Trustworthiness was determined through an audit. Cognitively and physically, students had to accommodate musical techniques as these differed from those used in concert band. Some students were confused by the new seating arrangement and the playing of individualized parts. While some students could perform distinctly different swing and straight interpretations of the same song without external cues, others could only perform this task with external cues. Some changes in articulation were well within the students' capabilities while other techniques were more difficult to accommodate. Several students felt 'uptight' while they improvised alone in front of their peers, noting group improvisation and rhythmic embellishment of familiar tunes as being helpful in assuaging these feelings. Students recognized the environmental differences between concert band and jazz band, and reported more freedom of expression in jazz band. Particularly enjoying this freedom, the more willing improvisors banded together as a clique. The students' learning was viewed as being situated in the context of jazz band. 'Musical perturbation' and cognitive apprenticeship described students' physical and cognitive accommodation of the new context. The instructional strategies students found to be most helpful were student-centered and derived from cognitive behavior modification and scaffolding theory.
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Ford, Elizabeth Cary. "The flute in musical life in eighteenth-century Scotland." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7351/.
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All history of the flute in Scotland begins with William Tytler’s 1792 assertion that the flute was unknown in Scotland prior to 1725. Other generally accepted beliefs about the flute in Scotland are that it was only played by wealthy male amateurs and had no role in traditional music. Upon examination, all of these beliefs are false. This thesis explores the role of the flute in eighteenth-century Scottish musical life, including players, repertoire, manuscripts, and instruments. Evidence for ladies having played flute is also examined, as are possible connections between flute playing and bagpipe playing. What emerges is a more complete picture of the flute’s role in eighteenth-century Scottish musical life.
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Clark, Margaret Ann. "A program of instruction in braille music for teachers of visually impaired students : a project presented to the Faculty of Education, the University of Western Sydney, Nepean in partial fulfilment for the degree of Master of Education /." View thesis, 1992. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030625.085753/index.html.
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Soares, da Ponte Angela Maria. "Ensaios sobre cantos : portfolio of musical compositions influenced by traditional music from the Azores." Thesis, University of Birmingham, 2016. http://etheses.bham.ac.uk//id/eprint/6885/.
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The current thesis is a portfolio of ten musical works composed during the period of 2011 and 2015, including instrumental, mixed media and acousmatic (stereo and multichannel) compositions. These works were developed and composed at my home studio in Oporto (from 2011) and at the Electroacoustic Music Studios at the University of Birmingham (2014 – 2015). This thesis also features observations and commentaries about technical and aesthetical issues that were objects of study during my creative process, which uses musical elements from my culture as inspiration for new musical works. Hence, it presents a reflection on and the validation of results that came from the exploration of several procedures during my development at the University of Birmingham Electroacoustic Music Studios and a chapter dedicated to the traditional instrument from the Azores – the viola da terra – and the two compositions that focus on this instrument. A USB stick is attached to this thesis, containing the audio performances of all musical works, scores and electronic version of this document.
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Pasquet, Olivier. "Automatic versus automatic, materialized fiction as a confrontational compositional process : a resolved complexity : simplicity." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34734/.
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The current submitted work consists of a portfolio of musical works, visual pieces and thoughts that preoccupied me over a period of research and creation from late 2014 to 2017. Pieces described in this thesis developed into an overall artistic research and craft which led to a specific workflow serving a new personal aesthetic. Two parts describe two seemingly antonymous automatic creation processes: automatic versus automatic. The first part describes my inspirations together with a consequent formal-ization of my composition techniques. I render generative automatic music both emerging from finite state computation and infinitesimal interference. The second part shows that I often perform my music in specific sites with challenging conditions. I consider them as constraints that eventually also be-come part of the composition system. The materialization of a piece involves aback-and-forth process, between concepts and realities, that I finally transcend in the sense of surrealist automatism. This mechanical and human process is a necessity for the authenticity to my pieces.
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Laporte, Jean-Francois. "Feedback : iterative research-creation processes between instrument-building, composition and performance." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34777/.
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This text is a commentary on my preoccupations over the course of my doctoral research from 2013 to 2017. It accompanies a portfolio of works realized and submitted as part of this doctoral thesis, which looks more specifically at feedback as an iterative process between myself as instrument-builder, composer and performer. This approach, which puts sound center stage as the primary material, emphasizes the organic and bidirectional internal influences among these three creative poles. This thesis is devoted to the main subject of my doctoral research: the notion of creative feedback among instrument-builder, composer and performer. It is in five parts: 1. A definition of my principal influences and aesthetic biases; 2. A portrait outlining the connections of influence among the instrument-builder, composer and performer; 3. A discussion of relationships outside the creative process itself, that is to say the influence of other artists (composers, musicians, other instruments) in my approach to research creation; 4. A demonstration of how I use the influences of other composers, other musicians and even other artists whose works speak to and inspire me; and 5. A presentation of three concrete examples from the portfolio realized during my doctoral research The body of work submitted includes: three new instruments, two sound installations,four compositions and three comprovisations.
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Evans, Eleri Ann. "Extending techniques : developing the saxophone's capacity for lower-end dynamics and microtonal playing." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31099/.
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Adolphe Sax believed his invention, the saxophone, was the link between louder and quieter instruments. Changes to the instrument and to playing techniques have lessened the saxophone’s ability to play quietly, and subtone techniques are now utilized for playing at lower-end dynamics. This PhD proposes a new method for playing the saxophone at lower-end dynamic levels. This method uses breath control to allow lower-end dynamic playing on the saxophone. The new method has been tested through its use in different musical compositions and in combination with different extended techniques. The new method for playing the saxophone at lower-end dynamic levels has been found to have greater applicability than existing techniques and is demonstrated in numerous recordings that accompany this work. Prominent saxophonists have said that the saxophone is not able to play notes between the semitones. Modifications to the saxophone keywork mechanisms have made some microtones possible whilst prohibiting others. Existing saxophone literature has documented quarter-tone scales but has been slow to expand further microtonal possibilities. This research has developed and proposed new models and new techniques for microtonal saxophone playing. This has been demonstrated on different saxophones, including those with distinct keywork mechanisms. The numerous fingering patterns that have resulted from this work are documented in the appendices. The microtonality that results from using extended techniques, slap-tonguing and key percussion, has also been documented. Recordings of the new models for microtonal saxophone playing accompany this research. The use of microtonal saxophone playing has been discussed in relation to different compositions. The research documented here is of relevance to saxophonists and composers who wish to play or use such techniques.
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Underhill, Jodie. "Musical participation and school diversity : an ethnography of six secondary schools." Thesis, Keele University, 2015. http://eprints.keele.ac.uk/2239/.
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Previous research has explored children’s musical participation in relation to motivation, instrumental lessons, extracurricular activities and the historically low uptake of GCSE and A Level music. This ethnographic study set out to investigate pupils’ musical participation in different school settings, the musical culture within these schools and the place of music in children’s everyday lives, including the wider contexts of home and school. Observations, questionnaires, aural and photo elicitation and focus group interviews were conducted with pupils, parents and teachers and revealed more differences than similarities in four main areas. The results are explored through the themes of teaching and learning, attitudes towards music, continuation of music education and the ‘triad’ of home, school and child. Schools attracting pupils from more middle-class backgrounds had more established musical cultures compared to those with an intake from economically deprived areas. This was apparent through the resources available to the music departments, the range of instrumental lessons on offer, the number of pupils learning an instrument, the amount of extracurricular provision present and the attitudes of pupils, parents and teachers. The findings from this study also showed that the views children experienced at home, whether positive or negative, were strongly influential. The results of this study showed the imbalance in provision between school type and socio-economic background and the importance of positive school-parent relationships in pupil engagement and have wider implications for schools and their pupils.
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Vecchini, Felipe Zamuner 1985. "Educação musical no ensino médio, uma proposta /." São Paulo, 2016. http://hdl.handle.net/11449/143482.
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Orientador: Luiza Helena da Silva Christov<br>Banca: Adriana do Nascimento Araújo Mendes<br>Banca: Maria Aparecida Guedes Monção<br>Resumo: O presente trabalho tem como foco a reflexão sobre o desenvolvimento de uma proposta de educação musical, utilizando a expressão cultural do maracatu de baque virado, com uma turma de ensino médio de uma escola pública da rede estadual em Piracicaba, interior de São Paulo. Por meio de exercícios práticos de percepção rítmica e de percussão corporal, buscamos envolver os estudantes participantes da pesquisa em práticas significativas que contribuíssem para a ampliação do repertório cultural dos mesmos, através do uso de alguns ritmos de tradição popular presentes em Piracicaba-SP, sobretudo o maracatu de baque virado. Através dessa experiência coletiva foi possível desenvolver uma sensibilização com os estudantes acerca da diversidade de ritmos e culturas existentes na região, possibilitando uma abertura dos esquemas de percepção e de pensamento (PENNA, 2012) para as diferentes expressões culturais. Desse modo, foi possível contribuir para a ampliação da reflexão acadêmica sobre e educação musical no ensino médio em escolas públicas.<br>Abstract: The current paper aims to reflect on the development of a music education proposal that works with the cultural manifestation of the maracatu de baque virado within a high school class in a public school from the city of Piracicaba, interior of the State of São Paulo. By means of some practical exercises of rhythmic perception and body percussion, we sought to envolve the students participants of the research in significative practices that contributed to broaden their cultural repertoire by employing some of the rhythms of the popular tradition present in the city of Piracicaba-SP, specially the maracatu de baque virado. Through this collective experience, we could develop a sensibilization on the diversity of rhythms and cultures of this region, allowing an opening on the thought and perception schemes (PENNA, 2012) for the different cultural expressions. Thus, it was possible to contribute to the broadening of the academic reflection on music education with high school students at the public school.<br>Mestre
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Assumpção, Solange Roseli Martinelli de. "O canto coral sob a perspectiva da educação musical formal /." São Paulo, 2003. http://hdl.handle.net/11449/154670.
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Assumpção, Solange Roseli Martinelli de [UNESP]. "O canto coral sob a perspectiva da educação musical formal." Universidade Estadual Paulista (UNESP), 2003. http://hdl.handle.net/11449/154670.
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000215693.pdf: 10226498 bytes, checksum: b437ec2f8b8ebda94b50d13b7ea0db6c (MD5)<br>Este trabalho consiste na análise de um caso especifico da disciplina Canto Coral inserida no curso livre de Formaçào Musical da Fundação das Artes de São Caetano do Sul, fundamentando-se em autores da área musical e de áreas afins: Edgar Morin, Jean Piaget, Howard Gardner, Keith Swanwick, Émile Dalcroze, Zoltán Kodály e Doreen Rao. A investigação buscou os elos entre as idéias destes autores que convergem para o ponto central de nossa discussão, a qual consiste na importância de relacionar, na construção do conhecimento, o agir e o compreender, o figurativo e o formal, a intuição e a análise. O conhecimento musical é compreendido como uma construção própria que cada indivíduo realiza a partir da experiência e em que as capacidades humanas de intuição e análise entrelaçam-se para integrar os diversos níveis de conhecimento. Diante da importância do Canto Coral na formação do músico, o estudo refletiu sobre: o fato de a disciplina funcionar, na prática, como complementar e algumas formas e práticas pedagógico-musicais para tomá-la mais significativa na formação do músico.<br>This dissertation consists of the analysis of a specific case of the course "Canto Coral" (choral singing) included in the music course of the Arts Foundation of São Caetano do Sul, with theoretical base on authors who have written about music, education and related areas: Edgar Morin, Jean Piaget, Howard Gardner, Émile Dalcroze, Zoltán Kodály e Doreen Rao Our investigation sought out the links between the ideas of these authors which converge in the central point of our discussion - the importance of relating, in the construction of knowledge, action to understanding, the figurative to the formal, intuition to analysis Musical understanding is understood as an individual construction which each one creates through his experience and in which the human capacities of intuition and analysis connect to integrate diverse levels of understanding In face of the importance of choral singing in musical education, this study reflects on the following: on the fact that the course functions, in practice, as complementary and on pedagogic and musical ways to make it more significant in the creation musicians.
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Bergmann, Carolina Giordano. "A relação do idoso com o aprendizado musical /." São Paulo : [s.n.], 2012. http://hdl.handle.net/11449/95167.
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Orientador: Marisa Trench de Oliveira Fonterrada<br>Banca: Maria Helena Villas Boas Concone<br>Banca: Sonia Regina Albano de Lima<br>Resumo: Esta pesquisa foi realizada na cidade de Campinas-SP, com idosos que frequentavam aulas de música do Curso de Extensão em Música Litúrgica da Arquidiocese de Campinas - CEMULC. O objetivo inicial da pesquisa foi saber qual a influência da educação musical na memória, concentração, coordenação motora, socialização e disposição, colhendo opiniões dos idosos que participaram das aulas. Buscou-se ainda compreender suas percepções e representações simbólicas acerca da música e do fazer musical, conhecer seus gostos e preferências e entender suas relações com a música. A pesquisa foi de caráter qualitativo, adotando-se a metodologia de estudo de caso. Usou-se a observação direta não participante e a realização de entrevista semiestruturada, com quatro idosos de diferentes turmas do curso, para a coleta de dados. O referencial teórico utilizado para a análise dos dados e a fundamentação da pesquisa se baseou em Ecléa Bosi, para tratar das questões referentes à memoria e lembranças; Simone de Beauvoir, que contribuiu com suas análises sociais e históricas a respeito do envelhecimento e da velhice; e no Tratado de Geriatria e Gerontologia, compêndio de artigos abordando diversos temas relacionados ao envelhecer. Na área de Educação Musical, buscou-se apoio em John Paynter e Murray Schafer, educadores musicais da segunda geração, que trabalham com a proposta de um ensino de música baseado na criatividade, no fazer musical e na escuta. A análise dos dados destacou alguns aspectos interessantes a respeito da educação musical e dos idosos, como a busca das aulas de música para a satisfação de um desejo ou necessidade, como se fosse a realização de um sonho que não pôde ser vivido anteriormente; a importância do apoio familiar para iniciar e dar continuidade aos estudos; a constatação de que os idosos têm capacidade de aprender coisas novas; e a contribuição da música para a melhoria da qualidade<br>Abstract: This research was held in Campinas-SP, with ederley who attended music classes in the Extension Course in Liturgical Music of the Roman Catholic Archdiocese of Campinas - CEMULC. The initial goal of the research was to know the influence of musical education in memory, concentration, motor coordination, socialization and provision, reaping reviews of seniors who participated in lessons. Also, it tried to understand their symbolic representations and perceptions about music and making music, to know their tastes and preferences, and to understand their relationship with music. The research was qualitative, adopting the methodology of case study. It was used the direct non-participant observation and semistructured interviews, with four elderly of different classes of the course, to collect data. The theoretical reference used for data analysis and research basis was based on Ecléa Bosi, for issues relating to memory and recollections; on Simone de Beauvoir, who contributed with her social and historical analyses regarding aging and old age; and on Tratado de Geriatria e Gerontologia, compendium of articles addressing various issues related to aging. In the field of music education, we sought support in John Paynter and Murray Schafer, second-generation musical educators who worked with the proposal of music education based on creativity, making music and listening. Data analysis has highlighted some interesting aspects about musical education and elderly, as the pursuit of music lessons for satisfying a desire or need, as if it was a dream that could not be lived previously; the importance of family support for starting and continuing studies; the fact that the elderly have the capacity to learn new things; and the music's contribution to improve quality of life when promoting integration and socialization, filling out free time and the use of intellectual and emotional capabilities<br>Mestre
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Borges, Alvaro Henrique [UNESP]. "O compositor na sala de aula: sonoridades contemporâneas para educação musical." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/108807.
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000772134.pdf: 1209811 bytes, checksum: fef56fe38ac61a3eb88b53caf2326347 (MD5)<br>Esta tese foi ensejada pela constatação da ausência de repertório da música contemporânea, experimental e eletroacústica no ambiente escolar. Esta constatação, especulada pelo compositor Guy Reibel, tendo como causa a pouca comunicabilidade por ter um código pouco conhecido, pôde ser verificada pela observação e análise de ações do Programa “Música na Escola”, do Município de Pouso Alegre – MG. Este Programa é uma demonstração de comprometimento político e social, por ser uma instituição que, desde 2005, dá acesso ao ensino de música na escola regular de forma estruturada, porém sem contemplar o repertório musical contemporâneo ou técnicas pedagógicas que o acolham. Não se excluem os méritos desta política pública, que dá relevância ao Estado de Minas Gerais, por ter este uma atuação diferenciada em relação a outros Estados da União, no que se refere ao ensino da música. Esta pesquisa buscou formas de ampliar suas ações já consolidadas para uma maior abrangência na atuação docente em suas escolas e abrir espaço a novas abordagens. As observações preliminares se concentraram nos seguintes aspectos: a origem do Programa como resultado de ação de políticas públicas, descrição de suas estruturas, estabelecimento de relações com os Projetos “Música na Escola” dos conservatórios mineiros, bem como o reconhecimento de sua abrangência na Rede Municipal de Ensino. Buscou-se, posteriormente, criar pontes de aproximação entre os educadores do Programa e o repertório musical e didático que envolve formas alternativas de ouvir e fazer música, reportando-se às propostas dos compositoreseducadores da metade do século XX, ou seja, Murray Schafer, Guy Reibel, John Paynter, Boris Porena e George Self, entre outros. Este processo de desenvolvimento estrutural da pesquisa ocorreu pela análise das estruturas pedagógicas vivenciadas em reuniões dos ...<br>This thesis was developed to lessen the absence of the repertoire of contemporary, experimental and electroacoustic music in the school environment. Contemplated by composer Guy Reibel, this finding, caused by a lack of communicability of some unfamiliar code, was verified through observations and analyses of the “School Music Program” at the City of Pouso Alegre - MG. This program is a demonstration of social and political opportunity, being that since 2005 it provides access to music education in regular schools by a structured process. However it doesn’t address the contemporary repertoire and pedagogical techniques that embrace it. We don’t want to reduce the merits or the relevance of Minas Gerais public policy, which has a differentiated performance if compared to other states in Brazil regarding the teaching of music. The study sought ways to expand the actions already consolidated for greater coverage on performances in the schools. Preliminary observations were focused on some aspects: the origin of the program as a result of public policies and description of its structures and its relationship with the conservatories programs “School Music Program”, as well as its scope in municipal schools. Subsequently, bridges were built to approach the educators of the program to the educational musical repertoire that involves alternative ways to listen and make music following some contributions of the composers-educators from the mid twentieth century, namely Murray Schafer, Guy Reibel, John Paynter, Boris and George Porena Self and others. The structural development process of this research was the educational experiences analysis developed through meetings with the program educators and the researcher, called “Training Workshops”, as well as an analysis of the direct work of the educators in the schools with their students. The main purpose of this procedure was to expand the teach ...
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Borges, Alvaro Henrique. "O compositor na sala de aula : sonoridades contemporâneas para educação musical /." São Paulo, 2014. http://hdl.handle.net/11449/108807.
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Orientador: Marisa Trench de Oliveira Fonterrada<br>Banca: Anselmo Guerra de Almeida<br>Banca: Leila Rosa Gonçalves Vertamatti<br>Banca: Jessica Mami Makino<br>Banca: Sonia Albano de Lima<br>Resumo: Esta tese foi ensejada pela constatação da ausência de repertório da música contemporânea, experimental e eletroacústica no ambiente escolar. Esta constatação, especulada pelo compositor Guy Reibel, tendo como causa a pouca comunicabilidade por ter um código pouco conhecido, pôde ser verificada pela observação e análise de ações do Programa "Música na Escola", do Município de Pouso Alegre - MG. Este Programa é uma demonstração de comprometimento político e social, por ser uma instituição que, desde 2005, dá acesso ao ensino de música na escola regular de forma estruturada, porém sem contemplar o repertório musical contemporâneo ou técnicas pedagógicas que o acolham. Não se excluem os méritos desta política pública, que dá relevância ao Estado de Minas Gerais, por ter este uma atuação diferenciada em relação a outros Estados da União, no que se refere ao ensino da música. Esta pesquisa buscou formas de ampliar suas ações já consolidadas para uma maior abrangência na atuação docente em suas escolas e abrir espaço a novas abordagens. As observações preliminares se concentraram nos seguintes aspectos: a origem do Programa como resultado de ação de políticas públicas, descrição de suas estruturas, estabelecimento de relações com os Projetos "Música na Escola" dos conservatórios mineiros, bem como o reconhecimento de sua abrangência na Rede Municipal de Ensino. Buscou-se, posteriormente, criar pontes de aproximação entre os educadores do Programa e o repertório musical e didático que envolve formas alternativas de ouvir e fazer música, reportando-se às propostas dos compositoreseducadores da metade do século XX, ou seja, Murray Schafer, Guy Reibel, John Paynter, Boris Porena e George Self, entre outros. Este processo de desenvolvimento estrutural da pesquisa ocorreu pela análise das estruturas pedagógicas vivenciadas em reuniões dos ...<br>Abstract: This thesis was developed to lessen the absence of the repertoire of contemporary, experimental and electroacoustic music in the school environment. Contemplated by composer Guy Reibel, this finding, caused by a lack of communicability of some unfamiliar code, was verified through observations and analyses of the "School Music Program" at the City of Pouso Alegre - MG. This program is a demonstration of social and political opportunity, being that since 2005 it provides access to music education in regular schools by a structured process. However it doesn't address the contemporary repertoire and pedagogical techniques that embrace it. We don't want to reduce the merits or the relevance of Minas Gerais public policy, which has a differentiated performance if compared to other states in Brazil regarding the teaching of music. The study sought ways to expand the actions already consolidated for greater coverage on performances in the schools. Preliminary observations were focused on some aspects: the origin of the program as a result of public policies and description of its structures and its relationship with the conservatories programs "School Music Program", as well as its scope in municipal schools. Subsequently, bridges were built to approach the educators of the program to the educational musical repertoire that involves alternative ways to listen and make music following some contributions of the composers-educators from the mid twentieth century, namely Murray Schafer, Guy Reibel, John Paynter, Boris and George Porena Self and others. The structural development process of this research was the educational experiences analysis developed through meetings with the program educators and the researcher, called "Training Workshops", as well as an analysis of the direct work of the educators in the schools with their students. The main purpose of this procedure was to expand the teach ...<br>Doutor
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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
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Valiengo, Camila 1979. "Diálogo, protagonismo e criatividade : a cocriação na aprendizagem musical /." São Paulo, 2017. http://hdl.handle.net/11449/152322.
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Orientador: Marisa Trench de Oliveira Fonterrada<br>Banca: Ana Cristina Rossetto Rocha<br>Banca: Francine de Paulo Martins Lima<br>Banca: Ilza Zenker Leme Joly<br>Banca: Leila Rosa Gonçalves Vertamatti<br>Resumo: Esta tese tem como temática central a discussão a respeito da aprendizagem na Educação Musical pelas crianças, de maneira que possam mostrar-se como protagonistas, criativas e dialógicas. Para estabelecer esse sentido, partiu-se da metáfora de uma "viagem", utilizando como Metodologia o conceito de Cartografia, baseado no pensamento rizomático de Deleuze e Guattari. Essa viagem, portanto, tem como objetivo principal compreender a cocriação no processo de aprendizagem musical entre crianças e professores, e deu-se na EMIA - Escola Municipal de Iniciação Artística, em São Paulo. São "coordenadas" deste caminho as premissas teóricas de várias áreas do conhecimento: Educação (Freire e Rinaldi); Educação Musical (Koellreutter, Gainza, Schaffer, Fonterrada, Kater, Brito), Psicologia (teoria histórico-cultural de Vigotsky); Sociologia da Infância (Sarmento) e Filosofia (Larrosa, Gallo, Deleuze e Guatarri). As análises de dados gerados pelas observações foram estabelecidas como "atalhos" para chegar a reflexões acerca da cocriação, e as "estalagens" são derivadas das rodas de conversa. Esses encontros culminam em um "rio fértil" que cruza o caminho (a discussão sobre as experiências e a cocriação), e permite reconhecer processos inventivos e de produção de subjetividades que levam a compreender a importância da cocriação entre crianças e professores no processo de aprendizagem musical, ao compor uma comunidade participativa. Os procedimentos metodológicos utilizados foram: observação... (Resumo completo, clicar acesso eletrônico abaixo)<br>Abstract: This thesis has as main theme the discussion about learning in musical education by children, in a way they can be considered protagonists, creative and dialogical. In order to establish this direction, the metaphor of a voyage was adopted, using as methodology the concept of cartography, based on rizomatic thinking of Deleuze and Guattari. This journey, therefore, has as its central goal to comprehend cocreation in the learning process enclosing children and teachers and too place at EMIA (Municipal School of Artistic Initiation). "Coordinates" of this drive are theoretical premises of various knowledge areas: education (Freire and Rinaldi); musical education (Koellreutter, Gainza, Schaffer, Fonterrada, Kater, Brito) psychology (Vigotsky's historic-cultural theory); childhood sociology (Sarmento) and philosophy (Larrosa, Gallo, Deleuze e Guattari). Analysis of data generated by observations were operated as "bypaths" to come closer to reflections on cocreation, and "auberges" are derived from conversation circles. This encounters culminate in a "fertile river" which crosses the drive (discussion on experiences and cocreation), and allows to recognize inventive and subjectivity processes which lead to a comprehension of the cocreation constructed by children and teachers in the process of musical education, composing a collaborative community. The methodological procedures adopted was: observation, interview with principal and pedagogical advisor, records on logbook, pictures... (Complete abstract click electronic access below)<br>Doutor
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Sparrow, Marion Janet. "Aspects of musical education in Grahamstown, 1832-1950." Thesis, Rhodes University, 1986. http://hdl.handle.net/10962/d1004616.
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From Introduction: An investigation into aspects of musical education in Grahamstown cannot be isolated from the prevailing economic and social influences and must be seen within that setting. By the 1830's Grahamstown had developed from the frontier military post of 1812, to a settlement with an increasing population, aware of the importance of general education in raising standards and whose attention was concentrated in commerce, allied with agriculture, being a wool centre and a halting-place for traders conveying merchandise northwards, by ox-wagon and later also the chief centre of the ostrich industry. This development had gone on despite a succession of Frontier Wars, the last in 1878. A military presence was felt throughout the years of the nineteenth century and into the early years of the next, although from the late 1850's the chief military posts were in King William's Town and not in Grahamstown. The 1860's witnessed the important discovery of diamonds in South Africa, the first of which was identified by the famous Grahamstonian, Dr William G. Atherstone. This discovery, together with the discovery of gold to the north in the 1880's and the new railway line in that direction side-tracking Grahamstown, plus a slump in the ostrich industry, resulted in the economic decline of the town, but it then directed its energy and enterprise in another direction, education. The many small schools, which had sprung up during earlier decades, were superseded by newly established larger ones, initially for boys, but the 1870's in South Africa saw a revolution in the education of girls (similar to that of the 1850's in England), an occurrence which had an important bearing upon the founding of high schools for girls and Grahamstown was no exception in this respect. In South Africa, tertiary education for women was introduced soon after 1900 (as had occurred in England in the 1870's) and Grahamstown again kept apace. The years of the twentieth century brought about numerous advances in communication (motor cars, roads, aeroplanes, the radio and telephone), the invention of the gramophone, the appearance of "talkies" to replace silent films, the development of electricity as a source of power, great changes from peace to war, worldwide and financial stringency. In addition droughts plagued the farming community. All these influenced life in Grahamstown and education in general. The age of many scholastic institutions in Grahamstown became such, that they were receiving the sons and daughters and also grandsons and granddaughters of former pupils. This continuity played an important part in establishing traditions. Aspects of musical education during more than a century will be examined, firstly, in connection with each individual school and tertiary institution and secondly, by means of a survey. The newspapers, "Graham's Town Journal" and "Grocott's Penny Mail" - later "Grocott's Daily Mail", will be referred to as "IJournal" and "Grocott's", respectively.
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Farnsley, Stephen H. "Gunther Schuller, his influence on the French horn." Virtual Press, 1985. http://liblink.bsu.edu/uhtbin/catkey/469339.
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Gunther Schuller is presently one of America's most influential music personalities. As one colleague of Schuller's at the New England Conservatory has written, "In many ways, Gunther Schuller is a modern incarnation of the renaissance man, with his interests and abilities flowing from him like ripples in a pond."1 Schuller, in his six decades, has been one of the nation's first-rate orchestral horn players and has participated in the instrument's introduction into the jazz medium; his interest in musicological research has encompassed the study of various types of music and resulted in Early Jazz: Its Roots and Musical Development, 2 considered by some to be "the definitive musicological treatment of jazz history . . ..”3 Schuller is also recognized as a leading contemporary composer and conductor, former composition instructor and long-time artistic co-director of the annual summer Tanglewood Festival, and teacher, authority, and author on horn playing.The dissertation traces Schuller's varied career, giving particular attention to his phenomenal success as a virtuoso of the French horn by age seventeen. The study also details his development as a composer, concentrating primarily on his compositional style as revealed in the works for horn as a solo and chamber music instrument. Among the works discussed are the horn concertos, the woodwind suite and brass quintet, Lines and Contrasts for sixteen horns, and Five Pieces for Five Horns. Included in the discussion is his unpublished and virtually unknown first Horn Concerto, which was written (and performed only once) by the composer while he was first horn in the Cincinnati Symphony. For the research, a copy of the manuscript was provided by the composer. (To date, the only published remnant is an arrangement of the second movement entitled Nocturne for horn and piano.)The dissertation examines Schuller's ideas concerning the "art" of modern horn playing through a discussion of his writings (Horn Technique), his musical studies (Studies for Unaccompanied Horn and Duets for Unaccompanied Horns), and through the observations of colleagues and former students. Fortunately, some of Schuller's well-articulated thoughts on musicianship in general and horn playing specifically have been retained in the tapes of the Sixth Annual International Horn Workshop, held at Ball State University in 1974. These are transcribed and included in the Appendix.In summary, the research is in three major sections. The first deals with biographical information-- Schuller's various careers, a survey of his compositions and writings, and a discussion and evaluation of his playing career based on information from his colleagues, recordings, and reviews. Section two examines the composer’s style and his influence on the instrument’s technique through a detailed study of the solo and chamber works for horn. Part three concerns his pedagogical and philosophical ideas regarding music education, with particular attention to the horn and horn playing.1. Frank Battisti, "Gunther Schuller and His Many Worlds of Music," The Instrumentalist, XXXII (June, 1978), p. 39.2. Gunther Schuller, Early Jazz: Its Roots and Musical Development, (New York: Oxford University Press), 1968.3. Robert Palmer, "Gunther Schuller: On the American Musical Melting Pot," Downbeat, XLIII (Feb. 12, 1976), 12.
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Tarren, Christopher James. "Time, space, memory : a portfolio of acousmatic compositions." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5208/.
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This portfolio comprises of a collection of acousmatic works which investigate the role of source bonding in music – the tendency of listeners to relate sounds to their real-world sources and the signifying implication of such a link – with a particular focus on how spatial design can contribute towards source-bonding in the music’s perception as a holistic spatio-sonic entity. A number of compositional strategies, multichannel formats and spatial audio technologies are investigated, with their merits assessed based on their suitability for shaping the qualities of musical space explored. The discussion in this commentary will show how these holistic spaces can have similar qualities of perceived ‘reality’ and ‘abstraction’ to the individual sounds, and how this is investigated in the musical works. I shall also show how the contrasting environmental qualities of these spaces became a source of of inspiration for structuring the development of my music, and how they might evoke subsequent meaning in their experience based on the listener’s understanding of the spatial source bonds.
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Miles, Natasha Frances. "Approaches to accompaniment on the Baroque guitar, c.1590-c.1730." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5149/.
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The five-course guitar was used as an instrument of accompaniment from the mid-sixteenth to the late-eighteenth century, yet its importance in this role has largely been overlooked in scholarship to date. While there are some isolated studies of individual sources, this is the first comprehensive study of the substantial body of extant guidelines with a view to understanding the styles of accompaniment on the instrument and how their practices developed during this period. This thesis documents the chronological development of the performance practices in such a way that parallels may be drawn between these sources and treatises for other instruments of accompaniment. Guitar accompaniments were, however, also strongly influenced by the performance practices associated with alfabeto chord symbols. Thus, to enable an understanding of the more idiomatic characteristics of guitar accompaniment stemming from alfabeto practices, a detailed evaluation of the true sophistication of the language of alfabeto is provided for the first time. This study provides a complete re-evaluation of the five-course guitar as an instrument of accompaniment; it challenges the past relegation of the instrument to ‘light’ or ‘frivolous’ musical repertoires; and it highlights the various approaches that were adopted in diverse performance contexts.
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Dunster-Sigtermans, Richard. "Developments in British organ design, 1945-1970 : a player's perspective." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7217/.
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This research forms part of a performance practice degree and focuses on the performance of British organ music written in the period 1945 to 1970. This period was a turbulent time for all those with an interest in the pipe organ, whether they were performers, consultants, organ builders or listeners. The considerable change in the approach to the design, construction and voicing of pipe organs, influenced by the Organ Reform Movement (Orgelbewegung), resulted in strong feelings both for and against the neo-classic organ, and the consequent tensions tested the typical British reserve of many of those directly involved. The challenge for the performer of today is to understand the strengths and weaknesses of British organs in the period and to connect these instruments with the music written for them. The original contribution this research provides is to focus firstly on the organ's mechanisms, including key actions, registration aids and console design and, secondly, on the tonal designs of the organs of the period. Case studies of music are presented, featuring three composers for the organ in this period, Howells, Leighton and Whitlock, the findings of which inform the associated recital which features contrasting pieces from the period 1945 to 1970.