Relevant bibliographies by topics / Musicality / Dissertations / Theses
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Dissertations / Theses on the topic 'Musicality'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2025

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1

Heimonen, Magnus. "Virtual Musicality : Soundtrack enters VR." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-12824.

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Virtual Reality (VR) can potentially transport the user to another world. Outside of VR, musical soundtrack is usually placed outside of the scene, referred to as non-diegetic sound. In VR, this could potentially break immersion. Other ways to implement music have to be tested. A test was created consisting of three scenes with a wide selection of “listening modes”, or musical configurations. The listening modes ranged from non-diegetic stereo music via headphones to diegetic, played from speakers inside the VR spaces. 10 respondents played through the scenes in VR, experiencing every listenin
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2

Bigley, Michael Erik. "Musicality, subjectivity, and the Canterbury tales." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05312007-110614.

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3

Mollaghan, Aimée. "The musicality of the visual music film." Thesis, University of Glasgow, 2011. http://theses.gla.ac.uk/3205/.

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This thesis explores the concept and expression of musicality in the absolute visual music film, in which visual presentations are given musical attributes such as rhythmical form, structure and harmony. The role of music has, in general, been neglected when analysing visual music textually and if discussed it has been examined predominantly from the academic vantage points of art and avant-garde film theory. To adequately scrutinise these texts I consider it essential to look at them not only in terms of their existence as moving pictures but also to give equal weight to their aural aspect an
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4

Kulezić-Wilson, Danijela. "Composing on screen : the musicality of film." Thesis, Ulster University, 2005. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421772.

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5

Dunn, Rosemary. "From the creative drive to the musical product : a psychoanalytic account of musical creativity." Thesis, University of Kent, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250348.

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6

Koch, Pierre. ""Du är ju ändå så musikalisk" : En kvalitativ studie om hur musiklärare definierar musikalitetsbegreppet." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-44427.

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Denna studie har som syfte att undersöka musiklärares definitioner gällande musikalitetsbegreppet. Studien undersöker också hur musiklärare resonerar kring sin egen, samt sina elevers musikalitet. Tidigare forskning presenteras i studien där musikalitet utifrån denna kan ses utifrån tre olika perspektiv: absolut, relativ och relationell musikalitetsuppfattning. Det sociokulturella perspektivet, med fokus på det kulturella sammanhangets betydelse för användning av begreppet musikalitet, är denna studies teoretiska utgångspunkt. Den forskningsmetod som valts för att undersöka ämnet är kvalitativ
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Filho, Marcus Borja de Almeida. "Poétiques de la voix et espaces sonores : la musicalité et la choralité comme bases de la pratique théâtrale." Thesis, Paris Sciences et Lettres (ComUE), 2017. http://www.theses.fr/2017PSLET041/document.

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Ma recherche dans le cadre de SACRe a pour but de démontrer et faire agir – de façonconsciente et organique – dans le travail du plateau, la similarité des modes de perception etstructuration du temps dans la musique et dans le théâtre et proposer, à partir de cette relation,une base solide et un langage commun au travail de l’acteur, du musicien, du performeur et dumetteur en scène.Mes travaux porteront essentiellement sur la dimension sonore et l'approche musicale du théâtre(écoute, rythme, ligne mélodique, harmonie, contrepoint) aussi bien en ce qui concernel'investigation et interprétation
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Varvir, Coe Megan Elizabeth 1982. "Composing Symbolism's Musicality of Language in Fin-de-siècle France." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862749/.

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In this dissertation, I explore the musical prosody of the literary symbolists and the influence of this prosody on fin-de-siècle French music. Contrary to previous categorizations of music as symbolist based on a characteristic "sound," I argue that symbolist aesthetics demonstrably influenced musical construction and reception. My scholarship reveals that symbolist musical works across genres share an approach to composition rooted in the symbolist concept of musicality of language, a concept that shapes this music on sonic, structural, and conceptual levels. I investigate the musical respon
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9

Taig, Phillip Barry. "The Musicality of The Sublime: Romantic sensibilities in film music." Thesis, The University of Sydney, 2021. https://hdl.handle.net/2123/24674.

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This thesis gives a cultural and philosophical account of the meaning of music through the analysis of romantic film music as it underscores dramatic, narrative film. The argument is furnished by thinkers and poets of the Romantic revolution in thought, language and sensibility that took place at the end of the eighteenth century and into the first third of the nineteenth century. The main claim is that romantic orchestral music is particularly suited, and has become ubiquitous as a standard, for expressing the darkness of the human heart; exhilarated and awed by the thrills and terrors of the
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10

Barnacle, Angus. "Harnessing the Musicality of Noise: Formal Grammar in Music Composition." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/27980.

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Impeded by the pitch and rhythm-oriented bias of conventional approaches to composition, composers seeking to incorporate unpitched or rhythmically ambiguous elements into their artistic work have tended to invent novel ways of thinking about music to facilitate their visions. This thesis unpacks a range of such compositional strategies for organising unpitched and/or rhythmically ambiguous material before interrogating how concepts of grammar borrowed from linguistics might scaffold compositional processes. The woolliness of music and language comparisons is framed as a productive grey area i
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11

Bannan, Nicholas. "Music in human evolution : an adaptationist approach to voice acquisition." Thesis, University of Reading, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250636.

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12

Leongomez, Juan David. "Contextual musicality : vocal modulation and its perception in human social interaction." Thesis, University of Stirling, 2014. http://hdl.handle.net/1893/21102.

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Music and language are both deeply rooted in our biology, but scientists have given far more attention to the neurological, biological and evolutionary roots of language than those of music. Because of this, and probably partially due to this, the purpose of music, in evolutionary terms, remains a mystery. Our brain, physiology and psychology make us capable of producing and listening to music since early infancy; therefore, our biology and behaviour are carrying some of the clues that need to be revealed to understand what music is “for”. Furthermore, music and language have a deep relationsh
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13

Frendo, Mario. "Musicality and the act of theatre : developing musicalised dramaturgies for theatre performance." Thesis, University of Sussex, 2013. http://sro.sussex.ac.uk/id/eprint/47177/.

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This research project is aimed at investigating musicality and theatre, and seeks to develop “musicalised dramaturgies” as dramaturgies for performances that venture beyond representation. The musical dimension is approached as an ontological aspect of theatre manifested in the work of the performer and in the process of dramaturgy as developed kinaesthetically with respect to the audience. The somatic dimension of the theatre act is investigated in terms of rhythmic and melodic associations which are proposed as sources of action in musicalised dramaturgies. The study looks at the conditions
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Concannon, Karen Elizabeth. "Identity and women poets of the Black Atlantic : musicality, history, and home." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/9371/.

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This thesis takes as its subject the points of connections and comparison that exist between five African American and Black British women poets, whose writings range from 1942 to the present day. It concentrates on the interconnection and reconstruction of their spatio-temporal geographies and their utilisation of musical traditions and historical narratives and ideas of location-dependent selfhood to articulate identity. Whilst previous scholarship tends to focus on the confines of a nation-state modality, with specifically American or British interpretations of African heritage, the methodo
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15

Mair, Marian. "Black rhythm and British reserve : interpretations of black musicality in racist ideology since 1750." Thesis, University College London (University of London), 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261825.

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The idea that Black people are constitutionally musical tends not to be considered a racist one. However, British constructions of Black musicality frequently rest upon a network of derogatory views of Black people as primitive, hedonistic, and as possessed of physical rather than intellectual skills. This historical analysis reveals haw ideas about Black musicality have attained cammon-sense status in British thinking. Music has been highly developed in Black cultures this thesis does not aim to deconstruct a myth of Black musicality. Rather it attempts a critical examination of the ways in w
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Zhao, Yue. "The musicality of C-pop : a study of Chinese popular music from 1985-2010." Thesis, University of Sheffield, 2011. http://etheses.whiterose.ac.uk/14987/.

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This study examines C-pop (Chinese pop). It contains three parts, Part One describes the changes in C-pop from the 1985 to the present, Part Two deals with how C-pop changed in terms of its musical texts and Part Three elucidates why it changed culturally. As a whole, it also provides a case study that allows us to approach the 'popular'I'pop' dichotomy from perspective of a change in musicality (way of being musical) from a music-maker-centric (MMC) system to a music-receiver-centric (MRC) system. I have drawn on the dual experience base of being a native Chinese and an overseas-based researc
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17

Williams, Evan. "The Leaving Symphony| Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption." Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10785346.

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<p> <i>The Leaving Symphony: Musicality and Voice in the Poetry of Trauma, Addiction, and Redemption</i> represents two years of my critical and creative writing while attending the California State University, Long Beach M.F.A. in Creative Writing program. Evident in the poems of this manuscript, my major themes include trauma, addiction, and personal redemption, all through the intimate lens of my family and myself. Crucial to my writing is the evolution of those struggles, seen in the organization of the poems in this thesis. The methodological essay at the beginning of this project details
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18

Bonus, Alexander Evan. "The Metronomic Performance Practice: A History of Rhythm, Metronomes, and the Mechanization of Musicality." Case Western Reserve University School of Graduate Studies / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=case1270221548.

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19

Fuscaldo, Arthur Iraçu Amaral. "Rowapari Danho're : sonhar e pegar cantos no xamanismo a'uwe /." São Paulo : [s.n.], 2011. http://hdl.handle.net/11449/86839.

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Orientador: Luiza H. S. Christov<br>Coorientador: Rosângela P. de Tugny<br>Banca: Tania Stolze Lima<br>Banca: Paulo R. Maia Figueiredo<br>Resumo: Esta dissertação caracteriza-se como estudo a respeito de atividades oníricomusicais a'uwe e processos de construção de conhecimento a elas vinculados. Destaca-se do contexto estudado a noção de pegar cantos nos sonhos e o fato de que cada geração de homens é orientada desde a infância pelos mais velhos, para que aprendam esta prática. A esses processos estão vinculadas noções de sonho, música e sobre o que entendemos como construção de saberes, inve
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20

Vincenot, Matthias. "La poésie et la chanson, un cousinage compliqué." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040008.

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Après une introduction présentant un historique des rapports entre la poésie et la chanson, cette thèse tente de déterminer d’abord ce qui peut faire poésie, en s’arrêtant sur la mise en musique des poèmes, étudiant notamment comment un poème peut devenir une chanson ; ensuite, il sera question de la chanson, de la façon dont on peut la définir comme de son pouvoir évocateur, ce que le chanteur Eric Guilleton appelle « la bande originale de nos vies », qui n’est pas sans conséquences dans la culture et la mémoire populaires. La troisième partie s’arrête sur la musique des mots, et donc sur l’u
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21

Mahoney, Kathleen. "Musicality in nineteenth-century French poetry prior to the emergence of free verse : Baudelaire, Mallarmé." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268846.

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22

Truman, Sylvia M. "A computer supported approach towards collaborative and creative musicality in the classroom : study and framework." Thesis, Open University, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446108.

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23

Markea, Georgia G. "Teachers' perceptions of musicality and its contexts : a study of piano pedagogy in Athenian conservatoires." Thesis, University College London (University of London), 2002. http://discovery.ucl.ac.uk/10020401/.

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This thesis explores the ways in which a number of prominent Greek piano teachers and performers perceive and define 'musicality' and how they regard contextual issues that impinge upon their work. Seven influential piano teachers in Greece, explain their teaching strategies and reveal their hidden 'theories' of musicality in detailed semistructured interviews. The interviews were based on a number of teaching episodes in Athenian conservatories and were selected from 200 hours of videotaped piano lessons with the interviewees and their piano students. Among the themes that emerge from the int
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Crow, William George. "Remixing the music curriculum : the new technology, creativity and perceptions of musicality in music education." Thesis, University College London (University of London), 2010. http://discovery.ucl.ac.uk/10006504/.

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This thesis interrogates the new music technology and its relationship to creativity, musicality and learning in the Key Stage 31 curriculum. In doing so it considers the effectiveness of the technology, what value pupils and teachers might place on technologically mediated musical interactions and how this relates to the principles enshrined in the National Curriculum. The research also explores the views of teachers in relation to the nature of creativity and learning in the music curriculum and their role in promoting it. The research was carried out across five sites: a PGCE music course,
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Bray, Matthew Clive. "Coordinating the telematic music performance experience with telemidi: Synchronising nodes, enhancing musicality, and delivering simultaneity." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2862.

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The practice of Telematic Music Performance (TMP), a subset of Network Music Performance (NMP), enables geographically remote musicians to engage in real-time musical interplay, typically occurring over a Wide Area Network (WAN: the Internet). However, the transmission of data between remote collaborators introduces millisecond latencies that obstruct the nuance of traditional human-to-human musical intercourse, and consequentially, the music generated by TMP often lacks rudimentary degrees of syncopation. Reducing network latency has been a critical focal point for research in this field, whe
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Poitevin, Ninon. "La musicalité de la peinture : de la métaphore au concept, penser une forme silencieuse de musicalité." Thesis, Lille, 2018. http://www.theses.fr/2018LIL3H023.

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L’expression « musicalité de la peinture », et tous ses usages dérivés se sont multipliés dans les discours depuis la fin du XIXe siècle. La vivacité de cette métaphore conflictuelle s’est peu à peu diluée en raison du phénomène d’auto-alimentation verbale et opérale dont elle est l’objet. La validation de l’usage d’une telle métaphore suppose donc sa revivification et sa relève par le concept. Elle peut en effet être pensée, par opposition à la musicité, comme part nécessaire (et non présence élargie) de la musique. Elle est alors comprise comme principe d’animation silencieuse et siège du se
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Fuscaldo, Arthur Iraçu Amaral [UNESP]. "Rowapari Danho're: sonhar e pegar cantos no xamanismo a'uwe." Universidade Estadual Paulista (UNESP), 2011. http://hdl.handle.net/11449/86839.

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Made available in DSpace on 2014-06-11T19:22:26Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-09-21Bitstream added on 2014-06-13T20:07:37Z : No. of bitstreams: 1 fuscaldo_aia_me_ia.pdf: 931029 bytes, checksum: 256ba3492c65e5c0f50b51065b9afbcb (MD5)<br>Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)<br>Esta dissertação caracteriza-se como estudo a respeito de atividades oníricomusicais a’uwe e processos de construção de conhecimento a elas vinculados. Destaca-se do contexto estudado a noção de pegar cantos nos sonhos e o fato de que cada geração de homens é orientada de
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Delaney, Patrick. "A study of the musicality of T. S. Eliot’s ’Four Quartets’." Thesis, University of Kent, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432825.

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Dalladay, Christopher. "The biography of music teachers, their understanding of musicality and the implications for secondary music education." Thesis, University of East London, 2014. http://roar.uel.ac.uk/4240/.

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This study concerns the purposes of music education in English secondary schools at key stage 3 (age 11-14) and the role of music educators: whether it is to provide an experience of music or whether it is to develop musicianship in young people; how far teachers understand what it is to be musical and how musicianship can be developed. Music teachers will come from a range of diverse backgrounds, though research data would suggest that most seem to have been educated as ‘classical’ music performers which will have an affect on what they perceive to be central competences in the development of
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Nicolette-Fantin, Emily. "Students' Perceptions of Music Learning and Imagery: Exploring and Documenting Connections." Youngstown State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ysu158869718904019.

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31

Hernandez-Monmarty, Eva. "Musicalité, corps et spiritualité dans la poésie de la négritude chez Césaire, Senghor et Craveirinha." Thesis, Université Côte d'Azur (ComUE), 2018. http://www.theses.fr/2018AZUR2032/document.

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La négritude répond à la fois à une recherche identitaire en réaction à la colonisation et une esthétique littéraire qui emprunte son langage et son rythme au pays natal de chaque auteur et au pays colonisateur. Elle est ainsi en lien avec la politique. Le rythme des poèmes d'Aimé Césaire, Léopold Sédar Senghor et José Craveirinha a une résonance dans la typographie. La typographie est également associée à la musique par l'espace que les mots occupent sur la page. Les bonds rythmiques du tam-tam sont par exemple des bonds typographiques chez Léopold Sédar Senghor. Ce rythme nommé la musicalité
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.

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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music wa
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Brown, Tom. "From intimate pleasures to spectacular vistas : musicality and historicity in French and American 'classical' cinema of the 1930s." Thesis, University of Warwick, 2007. http://wrap.warwick.ac.uk/1119/.

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This thesis considers the role of spectacle in two modes of filmmaking in the French and American 'classical' cinemas of the 1930s. I examine the relationship of spectacle to the emotions and drama of musical films, and to the 'history-telling' of biopics, war films and other genres of historical cinema. One reason for the comparison is the hegemonic position of classical Hollywood cinema in film scholarship. Although I am respectful of the insights offered by the concept of a 'classical' cinema, a more central motivation for this study is the failure of much criticism to account for the relat
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Guétin, Marie-Laure. "Le XIXe siècle dans le cinéma de Luchino Visconti : scènes et poétique du décor." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100151.

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Cette thèse se propose de mettre en relief des enjeux esthétiques et théoriques encore inaperçus du décor filmique, en prenant pour exemple le travail de Luchino Visconti, dont le cinéma fournit un cadre privilégié pour mener une telle recherche. Cinq grands films en costumes situés dans un XIXe siècle tardif, entre 1860 et 1911, constituent le corpus de l’étude, que vient compléter l’horizon réflexif des mises en scène de théâtre. On se donne pour tâche de relever et de faire ressortir les fonctions descriptive, historique et dramaturgique du décor. Le concept de scène ouvre ce décor XIXe à s
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Epaud, Dandelion. "Plurilinguisme sur les scènes contemporaines de 1990 à 2010 : musique de la langue et bruit du monde." Electronic Thesis or Diss., Rennes 2, 2024. http://www.theses.fr/2024REN20006.

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Les dramaturgies plurilingues sont sources de paradoxes. Tout d'abord, plus on multiplie les langues, moins on semble les percevoir comme des entités linguistiques autonomes, au point que le public ne conscientise pas toujours que la pièce vue est en plusieurs langues. Ensuite, alors que les dramaturgies plurilingues restent centrées sur le texte, celui-ci ne peut plus être l'unique vecteur du sens. Ainsi, bien qu'étant au centre de la création, il n'est plus qu'un élément de la représentation parmi d'autres. Les dramaturgies plurilingues obligent à reconsidérer la façon dont la langue transme
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Hjelm, Alexandra, and Frida Abrahamsson. "Att arbeta med musik i förskolan : Betydelsen av pedagogens syn på musik." Thesis, Umeå universitet, Institutionen för tillämpad utbildningsvetenskap, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-142687.

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Syftet med studien är att undersöka hur pedagogens syn på musik påverkar hur de arbetar med musik i förskolans verksamhet. Studiens tre frågeställningar är - Vad anser pedagoger ingår i begreppet musik? Vilka kunskaper anser sig pedagoger behöva för att undervisa i och arbeta med musik i förskolan? samt I vilket syfte använder pedagoger musik i förskolan? Datainsamlingen gjordes genom delvis strukturerade kvalitativa intervjuer med sex pedagoger i en större stad. Resultatet visar att musik ska vara ett glädjeämne i förskolan och finns dagligen med i de undersökta förskolorna. Pedagogerna anser
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Jae, Hwan Jung. "DANCING AMBIVALENCE: A CRITICAL ANALYSIS OF MARK MORRIS' CHOREOGRAPHY IN DIDO AND AENEAS (1989), THE HARD NUT (1991), AND ROMEO AND JULIET, ON MOTIFS OF SHAKESPEARE (2008)." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/167997.

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Dance<br>Ph.D.<br>Mark Morris is deeply engaged with dance traditions and the classics, but he transforms them into modern, eclectic pieces. He often dissolves the distinctions between reality and fantasy, and good and evil, emphasizing reconciliation and love. Morris sculpts his own story and characters from musical elements within the overarching musical structure, portraying the characters and their emotions through detailed variations of movement quality. Characterizing Morris' dual attitudes as ambivalence, this study aims to highlight the dynamic structure and complexity of meaning in hi
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Marceau, Catherine. "Socio-sonic control, deviant musicality, and countercultural resistance in Nineteen Eighty-Four, Player Piano, and One Flew Over the Cuckoo's Nest." Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69914.

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Ce mémoire considère trois œuvres littéraires des décennies d'après-guerre dans lesquelles le contrôle social est omniprésent, soit Nineteen Eighty-Four de George Orwell, Player Piano de Kurt Vonnegut, et One Flew Over the Cuckoo's Nest de Ken Kesey. L'analyse propose que ces auteurs examinent les réponses individuelles et collectives possibles face au contrôle socio-sonique, incluant le conformisme et la déviance, à travers la musicalité de leurs personnages. Mon approche repose sur des théories reliées à la sociologie, la musicologie et les études sonores afin d'élaborer une perspective holi
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Jasiulevičienė, Nijolė. "Lietuvių etninių dainų vaidmuo lavinant pradinio ugdymo pianistų muzikalumą." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2006. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2006~D_20060710_192419-60510.

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This Master thesis presents theoretical and practical research which addresses the role of the ethnical songs in the process of education of a piano player. The research was performed in order to assess the possible efficiency of this teaching method and to perform the comparison of this method against other methodologies applied in the process of piano player teaching. According the research performed by the Lithuanian and foreign scientists, .one of the main problems to be solved during the course of an efficient musicality development is the development of musical abilities. The aim of this
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Kacsir, Marci Adair. "If I Had a Puppy." Miami University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=miami1163219918.

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Ramsey, Lynn. "“An Indescribable Sound” in William Faulkner’s The Sound and the Fury." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1746.

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The Sound and the Fury is a noisy book. Through the audible, the barely audible, and the silence, William Faulkner supports his narrative design with sound beyond dialog to inform and inflect the destabilizing narrative voices. This essay explores Faulkner's use of the sound and noise of the novel as another narrative voice. Faulkner's rich use of sound as a recurring motif, almost a persona or narrator itself, functions not merely to animate the action, the characters, and the title; it also speaks in the "hush" and the freighted "stiffly sibilant" whispers of those who dare not speak, or are
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42

Delavenne, Anne. "De l'intimité à la complicité : la chanson-action comme organisateur de l'attention chez le bébé de trois à six mois." Thesis, Paris 10, 2011. http://www.theses.fr/2011PA100028.

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L’objectif de cette recherche est d’étudier la coordination temporelle entre l’organisation de la performance maternelle (chant et gestes des mains), les variations de l’attention visuelle et la vocalisation du bébé à 3 mois et à 6 mois au cours de la ‘chanson-action’ française ‘les marionnettes’. Le terme ‘chanson-action’ désigne des routines interactives associant une ‘mise en scène’ des mains (ici de la mère) coordonnée à un chant pour bébé. Le ‘chanter-bébé’ fait partie des premières stimulations musicales du bébé. Des recherches expérimentales ont mis en évidence qu’il possède plusieurs f
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43

Palm, Katarina. "Medveten lärare? : Om självreflektion i undervisning." Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1660.

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<p>In this paper I have examined how aware teachers are of their influence on pupils development. The method I´ve used are interviews with three teachers and one pupil each about</p><p>Musicality - how do the teachers and pupils look at the concept musicality generally and personally?</p><p>Influence I- do the teachers believe that their thinking about musicality influence the pupils self-confidence and development?</p><p>Influence II- do the teachers think that other pedagogues have influenced them in their teaching and thinking?</p><p>My main results show that both the teachers and the pupil
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44

Bengtsson, Eva. "Vart tar musiken vägen i El Sistema? : En kvalitativ undersökning om den musikaliska aspekten av El Sistemas arbete." Thesis, Södertörns högskola, Pedagogik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-46172.

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This study is about El Sistema, a choir- and orchestra school, that focuses on social development and uses music as a tool to achieve their aims. They primarily work where it is needed the most. Their vision is to get all children, independent of social status, opportunity to take part in instrumental- and choir lessons. The purpose of this study is to shed light on how the El Sistema teachers enable musical learning to take place among the participants. Socio-cultural perspectives on learning, situated learning, the different layers of music from the theory of Frede V. Nielsen, and the intrin
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45

Cuervo, Luciane da Costa. "Musicalidade na performance com a flauta doce." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/15663.

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A presente pesquisa acompanha o processo de aprendizagem da flauta doce de um grupo de dezessete sujeitos, com idades entre nove e treze anos, que participa de um projeto de extensão oferecido por uma escola pública de Ensino Fundamental e Médio em Porto Alegre, buscando compreender como se dá o desenvolvimento da musicalidade. Apóia-se na concepção de musicalidade como uma característica humana, constituída pela capacidade de geração de sentido musical através de uma performance expressiva. A metodologia de pesquisa possui abordagem qualitativa, com a realização de um estudo de caso em grupo
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46

Aponto, Té Júlio António [UNESP]. "Música, mídia e identidade nacional na Guiné-Bissau: da revolução armada à independência." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/134338.

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Submitted by Júlio António Aponto Té Aponto Té (apontote2008@yahoo.com.br) on 2016-02-25T19:15:19Z No. of bitstreams: 1 PDF TESE CORREÇÃO 02-VALIDO.pdf: 3040135 bytes, checksum: 9e209f8505896d9af8e59b65fac4a437 (MD5)<br>Approved for entry into archive by Juliano Benedito Ferreira (julianoferreira@reitoria.unesp.br) on 2016-02-25T19:52:39Z (GMT) No. of bitstreams: 1 apontote_ja_me_mar_par.pdf: 448731 bytes, checksum: daf2804694d5072d8fb3cd837ad248d0 (MD5)<br>Made available in DSpace on 2016-02-25T19:52:39Z (GMT). No. of bitstreams: 1 apontote_ja_me_mar_par.pdf: 448731 bytes, checksum:
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Seger, Débora da Fonseca. "Voz tangida a vela e vento : psicanálise, musicalidade e as navegações de Gilberto Mendes." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/70054.

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A presente dissertação busca compor possíveis interlocuções entre o campo psicanalítico e musical a partir da temática da voz. Para tanto, explora, primeiramente, as referências à voz e à musicalidade encontradas nas teorizações psicanalíticas, dando especial ênfase à concepção lacaniana de voz como objeto a e à pulsão invocante. Em seguida, a pesquisa se aproxima do campo musical, buscando situar transformações sofridas no emprego da voz ao longo da história da música. Finalmente, através das obras do compositor Gilberto Mendes, possíveis articulações e tensionamentos entre as áreas psicanalí
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Ivarson, Karin. "Musikalitet : en grupp danspedagogstudenters uppfattningar av innebörden av begreppet musikalitet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2166.

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Musikalitet är ett begrepp fyllt av spänning. För många är musikalitet något eftersträvansvärt, men att definiera vad musikalitet innebär är mycket svårt, och det finns ingen vedertagen vetenskaplig definition som är allomfattande. Det finns heller ingen speciell metod eller undervisning beskriven som särskilt utvecklar musikaliteten hos olika individer. Inom dans- och musikundervisning används begreppet mycket frekvent, men det är ofta oreflekterat och oklart vad som exakt menas. Syftet med min undersökning har varit att bland danspedagogstudenter söka mer förståelse för vad det kan innebära
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OLIVEIRA, Keyla Rosa de. "Panorama da educação musical: práticas metodológicas em duas escolas de música de Goiânia-GO." Universidade Federal de Goiás, 2011. http://repositorio.bc.ufg.br/tede/handle/tde/2703.

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Made available in DSpace on 2014-07-29T16:25:12Z (GMT). No. of bitstreams: 1 Dissertacao Keyla R de Oliveira.pdf: 548049 bytes, checksum: 5a91278f0159ef7fa275e4cf2002d9ee (MD5) Previous issue date: 2011-04-27<br>This research aims to study the practice and teaching of music education of students aged between nine and twelve years, during the first year of activities in specific school of music. The aim of this study is to map the proposed methodology with respect to various pedagogical theories that an educator can use in the classroom. The theoretical knowledge of contemporary researchers s
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50

Matangrano, Bruno Anselmi. "Camilo Pessanha revisitado: o \"Verlaine Português\" à luz de Mallarmé." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-10022014-110958/.

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A presente pesquisa é dedicada à poesia do simbolista português Camilo Pessanha, tendo em vista sua relação com a dos autores franceses Paul Verlaine e Stéphane Mallarmé, na tentativa de mostrar que Pessanha em muito supera a imagem de Verlaine Português, ao propor uma obra inovadora e fragmentária, que em alguns aspectos aproxima-se da escrita mallarmeana, preservando, no entanto, toda sua identidade e originalidade. Para tanto, atentou-se aos princípios formais da poética simbolista presentes na obra de cada um dos três, notadamente à sonoridade utilizada como forma de sugestão. Do mesmo mod
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