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Dissertations / Theses on the topic 'Muslim philosophers'
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1
Stephens, Annette, and res cand@acu edu au. "Education for an Australian Choral Tradition: evaluating the philosophies of Stephen Leek." Australian Catholic University. School of Music, 2005. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp90.09042006.
Full textAbstract:
The thesis aimed to assess the philosophies of Stephen Leek, in regard to the education for an Australian choral tradition. In order to address Stephen Leek's philosophies, a study of Australia's existing choral tradition and its history was conducted. This was followed by a general overview of music education in Australia post 1960. In light of these findings, Leek's educational philosophies were discussed, with specific influences, including biographical information. Leek's educational work Voiceworks was found to encapsulate his ideas. The program is creative-based, and aims to facilitate the discovery of new artistic concepts, and foster acceptance and interest in contemporary Australian choral music. Using the voice as the sole instrument, students can perform the pieces from Voiceworks, or use the ideas for further creativity in their own compositions. The program is based on experimentation, discovery, structuring, formulating, rehearsal, performance and discussion. Leek advocates that these stages are the quickest and most effective way of facilitating the learning of contemporary music techniques. In the evaluation of Leek's philosophies, case studies using a lesson from Voiceworks, were conducted with two Year 7 music classes in two different government coeducational schools. The findings revealed that Voiceworks can be a successful resource in the education for an Australian choral tradition. However, it was also found that excitement, enthusiasm and enjoyment are the key to its success, and hence excellent teaching is required in its presentation.
2
Heneghan, Frank. "Ireland's Music Education National Debate rationalization, reconciliation, contextuality and applicability of global philosophies in conflict /." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-11082004-084013/.
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Thesis (D.Mus.)-University of Pretoria, 2004.Paper copy accompanied by 1 CD-ROM with title: The Music Education National Debate (MEND). Includes bibliographical references. Available on the Internet via the World Wide Web.
3
Andersson, Ida. "Balance of music education : chartering verbal and non verbal knowledges in the philosophies of music teachers in South Africa." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1488.
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This thesis discuss how balance between declarative and procedural knowledge can be reached in music education. The purpose is to shine light on how balance between different kinds of knowledge shows itself in South African music teachers descriptions of their ways of teaching. The main focus lies in how non verbal and verbal knowledge present itself in the teacher's philosophies. The categorisation of different kinds of knowledge from the book Music Matters by David Elliott is used to distinguish the main question in the analysis. This categorisation suggests there are five categories of knowledge of where one is verbal and four non verbal. Seven teachers are included in the study and the results show that there are some difficulties in the process of balancing verbal and non verbal knowledges in their teaching situations. The difficulties is shown largely between the desire to teach through non verbal methods and the traditional way of teaching that is more directed towards verbal knowledge and the fact that it is the easiest and quickest way to use spontaneously in the teaching situations. The thesis concludes that despite the fact that there are areas of development in balancing knowledges in teaching situations, there is more elements of the philosophical theories discovered in reality than expected. The pattern show that the teacher's philosophical reflections present more gaps individually than put together which results in the reflection that if teachers use the knowledge and experience among each other in a larger extent, balance between different kinds of knowledge is more easily approached than when doing it on their own.
4
Stephens, Annette. "Education for an Australian choral tradition: Evaluating the philosophies of Stephen Leek." Thesis, Australian Catholic University, 2004. https://acuresearchbank.acu.edu.au/download/0065843662a439782a3e5b46fa2056dd031fef4c7aabdfa007bfb80c5e8cf8cc/5552303/65098_downloaded_stream_323.pdf.
Full textAbstract:
The thesis aimed to assess the philosophies of Stephen Leek, in regard to the education for an Australian choral tradition. In order to address Stephen Leek's philosophies, a study of Australia's existing choral tradition and its history was conducted. This was followed by a general overview of music education in Australia post 1960. In light of these findings, Leek's educational philosophies were discussed, with specific influences, including biographical information. Leek's educational work Voiceworks was found to encapsulate his ideas. The program is creative-based, and aims to facilitate the discovery of new artistic concepts, and foster acceptance and interest in contemporary Australian choral music. Using the voice as the sole instrument, students can perform the pieces from Voiceworks, or use the ideas for further creativity in their own compositions. The program is based on experimentation, discovery, structuring, formulating, rehearsal, performance and discussion. Leek advocates that these stages are the quickest and most effective way of facilitating the learning of contemporary music techniques. In the evaluation of Leek's philosophies, case studies using a lesson from Voiceworks, were conducted with two Year 7 music classes in two different government coeducational schools. The findings revealed that Voiceworks can be a successful resource in the education for an Australian choral tradition. However, it was also found that excitement, enthusiasm and enjoyment are the key to its success, and hence excellent teaching is required in its presentation.
5
CLELAND, KENT DOUGLAS. "MUSICAL TRANSFORMATION AS A MANIFESTATION OF THE TEMPORAL PROCESS PHILOSOPHIES OF HENRI BERGSON." University of Cincinnati / OhioLINK, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1059403850.
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Gonzalez, Luis S. "REHEARSAL EFFECTIVENESS: AN ANALYTICAL STUDY OF REHEARSAL PHILOSOPHIES AND PROCEDURES OF SELECTED PUBLIC SCHOOL AND POSTSECONDARY WIND BAND CONDUCTORS." University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990724125.
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7
Appleby, Joshua. "Making the most of life’s uncertainty: An analysis of the philosophies and musical language of David Ades." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2446.
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This project explores the compositional and improvisational techniques idiosyncratic to David Ades, specifically within his last two recordings as leader: A Glorious Uncertainty and A Life in a Day. Interviews were conducted with collaborators and those musically associated with Ades to provide a deep understanding of the philosophical values governing his musical approach. In association with this, selected recordings from the aforementioned albums were transcribed for analysis. Areas of analytical focus were arrangement, form and structure, pitch arrangement, rhythmic devices, articulation, effects, dynamics, and interaction. Due to the freedom Ades sought within his music, the work of musicologists such as Ekkehard Jost in his book Free Jazz, Dave Liebman’s and Lewis Porter’s analyses of Coltrane’s music, and Stroessner’s adaptation of Jan LaRue’s work have been employed for analysis. Having established a comprehensive overview of Ades’s musical idiosyncrasies and the philosophy behind them, this document acts not only as an insight into the musician, but a potential source for application to artistic practice, encouraging the development of a personal musical lexicon.
8
Nyce, Douglas L. "New Zealand primary music education: a promise broken : a comparison of the de jure and de facto philosophies of music education of New Zealand primary, intermediate and middle schools." Thesis, University of Auckland, 2012. http://hdl.handle.net/2292/18071.
Full textAbstract:
This thesis project is undertaken in order to expose and analyse the
philosophies of music education of the New Zealand educational system at the
primary level. Research is conducted and presented in the disciplines of philosophy,
the philosophy of music, the philosophy of education and the philosophy of music
education so that this analysis might be as conceptually broad and deep as possible.
Information is also gathered from New Zealand governmental documents on the
subject of music educational philosophy and previous surveys of New Zealand music
education are explored. Current information is also gathered through the conducting
of a survey of 1247 New Zealand schools. This thesis is a vehicle both for the
presentation and analysis of data gathered through this survey of New Zealand
primary, intermediate and middle school music education and for the presentation and
philosophical analysis of the discipline of the philosophy of music education. Using
data collected through the survey instrument, the de facto philosophies reported by
music educators and principals as operating in New Zealand schools have been
established. The data collection involves qualitative questioning regarding the
philosophy of music education as well as quantitative questioning regarding
philosophy, methods, curriculum and materials utilised. The responses are analysed,
as are many other competing philosophical viewpoints for logical validity and
empirical relevance. Efforts are also made to place them within the context of the
history and philosophy of music education. The conclusions of this exposition and
analysis are that there is a discernable philosophy of music education predominantly
operating in New Zealand schools as demonstrated by teacher practice (the
philosophy of music education de facto) and that this philosophy is in some ways
inconsistent with the predominant philosophy of music education as articulated in
New Zealand Ministry of Education documents (the philosophy of music education de jure). Based on its validity and efficacy, I recommend that a particular philosophy of music education bridging the two be developed and be adopted, both de jure and de facto, by New Zealand officials and educators.
9
Wheeler, T. Ray. "Toward a Framework for a New Philosophy of Music Education: Løgstrup as Synergy Between the Platonic and the Aristotelian Perspectives in the Music Education Philosophies of Bennett Reimer and David Elliott." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/wheeler_t_ray/index.htm.
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Giordani, Angela Marie. "Making Falsafa in Modern Egypt: Towards a History of Islamic Philosophy in the Twentieth Century." Thesis, 2021. https://doi.org/10.7916/d8-raq9-5n79.
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“Making Falsafa in Modern Egypt” is an intellectual and institutional history of a phenomenon in colonial-national Egypt known to participants and observers as the “Islamic philosophy revival.” At the helm of this “revival” was an intellectually and politically diverse group of local scholars—shaykhs trained at Cairo’s venerable al-Azhar mosque-university as well as philosophers and Arabists with doctorates from the Sorbonne and Cambridge—united by a commitment to rehabilitating the legacies of Ibn Sina (Avicenna), Ibn Rushd (Averroes), and other classical masters of the philosophical discipline known in Arabic as falsafa. My dissertation excavates the archive of this little-studied Egyptian revivalist movement to offer a situated intellectual history of the production, diffusion, reading, and uses of the Arabo-Islamic philosophical tradition in modern global thought. In so doing, I begin to address the neglected yet consequential question of how and to what end scholars in the Arabic-speaking regions of the Muslim world studied, taught, interpreted, and otherwise engaged their philosophical heritage in the modern era.
In tracing the efforts of prominent twentieth-century Egyptian philosophers to reconstitute classical falsafa for modern thought and education, I rely on their published scholarship, conference presentations, personal papers, and articles on politics and education as well as archival records from the institutions where they worked and studied. I show that these scholars (re)made their philosophical tradition into a privileged subject and means of reform, taking its revival to be an essential precondition for Arabs’ modern becoming. By writing revisionary histories and building new archives of falsafa, they redefined its disciplinary bounds and canon as understood in Islamic and European scholarly traditions while also presenting novel genealogies of science, reason, and humanism that provincialized Western philosophy and configured its Islamic counterpart as an alternative universalism. As widely-read international scholars who studied and taught at universities across the Middle East and Europe, meanwhile, they played a crucial role in establishing “Islamic philosophy” as an object of international academic inquiry and a “world tradition.” Whereas the modern reconstruction of the Arabo-Islamic philosophical tradition is generally represented as a project internal to Orientalism driven by Europeans, my dissertation recasts this major hermeneutic enterprise as a chapter in the intellectual history of Islam and the Arab world. By tracing the meaning and making of falsafa in colonial-national Egypt through the works of its local revivers, I begin to document the formative role of colonized Arab and Muslim scholars in the global historical processes, networks, and debates that made their philosophical heritage into one of the most widely-studied thought traditions in the contemporary era.
11
Rogers, Donald Henry. "A survey of Kootenay music educators’ attitudes towards music education philosophies." Thesis, 1992. http://hdl.handle.net/2429/2058.
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This study is an investigation of Kootenay Music Educators' attitudes toward four philosophical approaches as defined by a previous study by Hanley (1989). The four philosophical approaches are: hedonic, absolute expressionist, formalist, and referentialist. Q-methodology was used as the instrument to gather data about the subjects' perception of two teaching situations: their “actual” teaching practice and their perception of an “ideal” teaching practice.
The findings revealed diversity of philosophical approaches in the "actual" sort similar to previous studies. In addition to the four proposed philosophical types, as fifth types "subjectivist" was also found. The "ideal" sort suggested that the absolute - expressionist is the preferred approach although disagreement of rejected statements varied greatly. The hedonic approach was also significantly present.
The findings are discussed in light of the tenuous support for music education. The call for music educators to engage the issue of philosophy in music education is made. The development of a more definable foundation for the role of music education within the total curriculum is suggested to be only possible after educators, administrators, and the public enter into the process of philosophical investigation.
12
Cheng, Shu-Pin, and 鄭淑萍. "The Perspectives of Music Aesthetic and Education of Philosophers in ancient Greece and Rome." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/92062028624211011806.
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碩士國立臺灣師範大學
音樂研究所
88
The purposes of the essay are to find out the thoughts to music of philosophers in ancient Greece and Rome, to understand the importance of music at that time, and to discuss their music education ideas. The essay contents periods of the ancient Greece, the pre-classical period of ancient Greece, the classical period of ancient Greece, the Hellenistic period and ancient Rome. By analyzing philosophers’ perspectives to music and music education, the importance of music was regarded as positive. The essay combines historical method and statement method including literature review and analysis. The results of the study are as below: 1. Philosophers in ancient Greece, like Homer and Hesiod, talked about the origin of music, and they characterized the minstrels as the favored mortals of the gods. Music was thought as sacred, and that’s why it was always linked to the gods and divine powers. 2. Philosophers in the pre-classical period of ancient Greece like Pythagoras, Damon, and Socrates started to focus on the moral force of music. They maintain that music had ethical value which should be utilized in the attainment of a sound morality. 3. In the classical period of ancient Greece, Plato held to the view that music should have one more educational means in the establishment of virtue and morality. Aristotle also took the view of Plato on the ethical character of music. They both denounced musical innovation. 4. In the Hellenistic period and ancient Rome period, the Epicurean school of philosophy maintained that music was irrational and cannot affect the soul or the emotions. But the Stoic school of philosophy still insisted that music had moral and ethical value. Sextus Empiricus even considered that music was not existent. The Romans contributed little to the development of music. They adopted Greek theory and practices and modified them to fit their own usage. But the subtleties of the Greek music system were ignored in ancient Rome. According to the results of the essay, the researcher proposes suggestions to music teachers, music aesthetic education and further study, which can be the referencial materials for music education.
13
Chang, Pei-Shan, and 張珮珊. "A Case Study of Educational Philosophies and Management for Afterschool Music Programs." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/ypj8m4.
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碩士國立東華大學
教育行政與管理學系
106
The purpose of this study is to explore educational philosophies and business development for afterschool music programs. To this end, development of afterschool music programs is depicted by collecting data via in-depth interviews, participatory observation and document analysis, selecting music as the theme for research cases, inviting stakeholders including operators, teachers and parents in the filed as interview subjects, and conducting multiple data analyses. The following results are obtained: First, how the development of music as business has evolved is understood. Causes for business growth are analyzed based on statistics of revenues from music business and numbers of students recruited. Position categories and salary profiles of private educators are described based on members and structures of music business organizations to look into the root cause of frequent employee turnover. Second, educational philosophies and business operations for music are realized through actually implemented program planning that covers program types for understanding music. In addition, management and deepening of educational philosophies is done by stage. Third, for operations of business strategies, there are strategic operations for music at different stages, including internal operations management and processes, guidelines for human resource management, and marketing strategies to ensure collaboration and unification of internal departments, smooth service processes, regulatory compliance, establishment of quality of service, and product positioning that attracts customers through marketing management. Fourth, factors that affect music development are analyzed by using SWOT analysis and researching business strategies at different stages for afterschool programs, as well as objectively analyzing the four aspects: advantages, disadvantages, opportunities and threats for the research cases and how these are dealt with.Fifth, Development context of music education: Music education itself has developed from single orientation to diversification; its business management has moved from centralization to empowerment; its targets have expanded from young children only to include adolescents; and its marketing method has changed from word of mouth to online campaign. Sixth,Concept of music education: Program development focuses on maintaining pedagogical advantages in the market and enhancing on-the-job training to improve employee abilities. Seventh,Business strategy for music: Market expansion needs enormous costs, setup of management systems and control over operational processes, contracting systems that require efforts on training, financial control that prevents losses; and building customer trust for long-term relationships.
14
Legg, Karen Lynn. "Worldviews in music a rhetorical study of philosophies of truth and reality found in country music and contemporary christian music /." 2004. http://etd.utk.edu/2004/LeggKaren.pdf.
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Thesis (M.S.)--University of Tennessee, Knoxville, 2004.Title from title page screen (viewed Jan. 20, 2005). Thesis advisor: Michelle Violanti. Document formatted into pages (vi, 81 p.). Vita. Includes bibliographical references (p. 76-80).
15
Stephens, Annette. "Education for an Australian choral tradition Evaluating the philosophies of Stephen Leek /." 2004. http://dlibrary.acu.edu.au/digitaltheses/public/adt-acuvp90.09042006/index.html.
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Thesis (M.Mus)--Australian Catholic University, 2004.Submitted in partial fulfillment of the requirements for the degree of Master of Music. Bibliography: p. 150-156. Also available in an electronic format via the internet.
16
Knight, Gerald Roderick Fenton Kevin A. "The music philosophies, choral concepts, and rehearsal practices of two African-American choral conductors." Diss., 2006. http://etd.lib.fsu.edu/theses/available/etd-07172006-160556/.
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Dissertation (PhD) Florida State University, 2006.Advisor: Kevin Fenton, Florida State University, College of Music. Title and description from dissertation home page (viewed 7-2-07). Document formatted into pages; contains 175 pages. Includes biographical sketch. Includes bibliographical references.
17
Smith, Brad Wheeldon Marianne Noe Kevin. "Philosophies, goals and challenges of selecting repertoire for the collegiate and professional orchestra." 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3126154.
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Smith, Brad. "Philosophies, goals and challenges of selecting repertoire for the collegiate and professional orchestra." Thesis, 2004. http://hdl.handle.net/2152/1137.
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Smith, Brad 1973. "Philosophies, goals and challenges of selecting repertoire for the collegiate and professional orchestra." 2004. http://hdl.handle.net/2152/12945.
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(9832076), Bernadette Ryan. "The roles of Phleng phuea chiwit music (songs for life) in forming identities within the forces of globalisation in Thailand: Individuated perspectives similar to ‘Sufficiency’ philosophies." Thesis, 2016. https://figshare.com/articles/thesis/The_roles_of_Phleng_phuea_chiwit_music_songs_for_life_in_forming_identities_within_the_forces_of_globalisation_in_Thailand_Individuated_perspectives_similar_to_Sufficiency_philosophies/13446488.
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Phleng phuea chiwit literally means ‘songs for life’ in Thai. The musicians who create ‘songs for life’ established their place in Thai popular music history in the 1970s, during the people’s revolution for democracy. Since then, this music genre remains identified with protest and counter-cultural songs that aim to inspire people to “fight” for a better life. The success of open economy globalisation from 1980 to 1996 brought decades of prosperity to Thai society. Thai business industrialists became prime ministers, and two populist political groups emerged: the rural and the urban. During this time, phleng phuea chiwit musicians expanded their critical horizons to create songs concerned about capitalism, imperialism, industrialism, corruption, and the socially disadvantaged.
Decades of economic boom left few Thais prepared for the shock of the Thai financial crises of 1997/1998. Thais awakened to the financial vulnerability of their open business policies. Around this time, the phleng phuea chiwit musicians made a shift in their song commentaries to sing about love and emotional concerns. This shift tarnished their sincerity as activists, for the new songs about loneliness, greed, anxiety, despair, weariness, and love, were not considered to be songs that inspired people to fight for a better life. Critics said that the genre was just like other Thai popular music.
In 2000, responding to the effects of the financial crisis, the Thai National
Development Board in Thailand brought forward The Philosophy of ‘Sufficiency’ Economy as a guide for the behavioral conduct for all Thais in order to modernise in line with globalisation. The ‘Sufficiency’ philosophy brought forward the Middle Path understanding that sustainability and self-reliance was necessary for security against the potentially damaging forces of globalisation. With this in mind, this study
compares and contrasts phleng phuea chiwit musicians’ beliefs about the ways they think people should think and act for a better life in the future with ideas of the ‘Sufficiency’ philosophy. Quantitative and qualitative data collected in Thailand in 2011 and 2012 provides the primary resources for this study. 34 individual phleng phuea chiwit musicians contributed survey and interview data for this study. Case studies of two groups of musicians from two different locations were conducted to analyse similarities and differences between 14 rural musicians from Khon Kaen in the Northeastern Isan region and 20 musicians from metropolitan Bangkok. This study explores a series of questions around whether or not phleng phuea chiwit musicians are still creating counter-cultural songs’ commentaries for a better life in the new millennium. The contribution this study makes towards understanding the music of phleng phuea chiwit is vastly enriched by the musicians’ explanations about their music, as they clearly delineate phleng phuea chiwit’s difference from other Thai
popular music.
21
Mo, Heng-Chung, and 莫恆中. "In Self-composition of Music,How Do I Practise the Esthetics from the Thought of the Taoist Philosophers: Lao-Tzyy , 604- 531,B.C.,and Chung-Tzyy , C.300 B.C." Thesis, 1995. http://ndltd.ncl.edu.tw/handle/50958800890647076173.
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碩士國立師範大學
音樂學系
83
This thesis approaches the esthetics from the thought of the Taoist philosophers,Lao-Tzyy and Chung-Tzyy,through the fol- lowing angles : 1.the influence and changes. 2.the performance from the application on the literary and a- rtistic creation,as the basic rational concept on self-co- mposition of music. 3.Furthermore,to study,research and analyze how the aboveme- ntioned basic rational concept to be practised in tune wi- th the publication/performance of the works.
22
Butler, Peter Maurice. "Primary school music education: a study of teachers, composers and original works in a pedagogical context." Phd thesis, 2015. http://hdl.handle.net/1885/101810.
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This research project addresses the nature and function of
compositions within the context of primary school music
education. A longitudinal review of the literature, and the
analysis of empirical data gathered in this research reveal the
shortcomings between teachers’ expressed requirements and the
currently available works. The researcher’s survey of over 1000
popular primary music resources by prominent Australian music
education composers reveals the great majority are designed
primarily for sing-alongs and basic percussion play-along. The
melodic and rhythmic notational complexity of most of the music
exceeds the music literacy level of all but a very small
percentage of primary teacher graduates. It is intentionally
published in a format that does not require music literacy.
Through qualitative research methods, including the analysis of
data gathered within interviews with educational practitioners
and composers from Victoria and Tasmania, this project identifies
and explores several deficiencies in music for primary school
programs. The exegetical component of this research examines the
nature and function of music used in Foundation to Year 6 school
music classes across Australia. This research also incorporates
an extensive portfolio of original works for primary music
education settings. The identified gaps between teachers’
expressed requirements and currently available songs and music,
inform the nature and design of the accompanying portfolio.
Underpinned by the research findings, the folio caters for the
needs and ability levels of the least musically experienced
trainee and graduate teachers, as well as the most musically
proficient Kodaly and Orff practitioners.
The research undertaken within this project suggests the choice
of compositions used by primary school music teachers in
Australia is largely influenced by the musical and pedagogical
expertise of the teachers themselves. Conflicting school issues,
such as timetabling, resources and school performance
expectations exacerbate the parlous state of primary school music
education. The nature and function of compositions used in
primary teaching is also influenced by the musical and
educational ideologies of composers producing music teaching
resources. The music teachers interviewed within this research
voiced dissatisfaction with the limited flexibility and narrow
application of many current resources. They expressed a need for
instructional songs, concert items and thematic cross-discipline
items. They voiced a preference for music that incorporates
physicality: actions, dances, movement and instrumental
performance. Their unanimous enthusiasm for music teaching
resource publications that include digital projections, music
recordings and videos of demonstration lessons also emerged as a
theme within the data.
This project offers a practical, research-based resource for
primary school music teachers. The exegetical component of the
research includes a description of the musical and pedagogical
design of the portfolio, and an explanation of the manner in
which they address the identified gaps in educational resources.