To see the other types of publications on this topic, follow the link: Performance practice (Music).
Dissertations / Theses on the topic 'Performance practice (Music)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Performance practice (Music).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Hu, Shu-Chen 1968. "How to Practice in an Efficient Way." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
Full textAbstract:
Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
2
Chantler, John. "No Such Array : Developing a material and practice for electronic music performance." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.
Full textAbstract:
I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.
3
Stolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
Full textAbstract:
Thesis (PhD)--Stellenbosch University, 2012.Sensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
4
DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.
Full textAbstract:
This thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.
5
Chung, Hee. "Igor Stravinsky's three movements from Petrushka : an analysis of performance practice." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260196469.
Full text
6
Phoenix, Ekrem Eli. "Locus of music Open discourse and dynamics of control in music making." Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18848.
Full textAbstract:
Locus of Music is a creative portfolio of original works by Ekrem Eli Phoenix (formerly known as Mülayim), as part of a PhD degree in musical composition. These works, and the accompanying research paper, are creative investigations into the notion of open discourse and dynamics of control in music making. The traditional model for the musical process is a vertical, hierarchical dynamic with the composer at the top and the audience at the bottom. In this model the power and the control lie with the composer. He is the definitive author of his creation, and therefore is the sole provider of the musical ‘truth’ for other parties to receive, interpret, recreate, and ultimately consume. Modern musical practices have challenged this model with notions such as ‘open work’, ‘indeterminacy’, and ‘shared authorship’. Such practices share parallels with changes in scientific thought as can be found in quantum physics and multi-value logics. This paper provides a philosophical base for these concepts by examining the theories of truth, question, decision making, and control. Through this examination, a circular dynamic emerges as an alternative to the vertical hierarchy. In this alternative model, the control, once solely possessed by the composer, is shared and redistributed amongst the parties involved in music making. The music makers are expected to maintain an open discourse during the realisation process. However, open discourse is a process that needs to be cultivated, diligently sustained and, at times, forcibly imposed in order for it to remain open, alive and vigorous. Otherwise, habitual musical decisions can be repeated at each performance and the works can no longer be referred as open. Enquiry reveals that a discourse is open in the face questions and it is closed when a statement is made and a truth is provided. Similarly, a decision making process takes place only in the face of questions and uncertainty. Uncertainty is characterised by the absence or loss of control over an activity or process. Decisions, consequently, can be seen as attempts at reclaiming or negotiating control. When music making is viewed as a decision making activity, the presence of uncertainty, therefore, emerges as essential for open discourse. As a result, this research, with its accompanying portfolio, is a systematic approach at devising works that challenge the control possessed by the music makers, deprive them of it, face them with uncertainty and, finally, limit their access to habitual, safe and repetitive decisions so that the music making process remains an open discourse.
7
Menrath, Stefanie Margot. "Anonymity performance as critical practice in electronic pop music : a performance ethnography." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18730/.
Full textAbstract:
Through practices of anonymity electronic music culture has advanced a critique of the institution of star personality in pop music. This study investigates how academic research can learn from such pop music-related critical practices. As it becomes an object of academic knowledge, the notoriously anti-representational electronic music culture calls for an experimental research methodology. This performance ethnography experiments, in the tradition of activist and performative anthropology, with research practice as performance. Resisting the tendency to objectify culture as a factual research object, this study explores the processuality and performativity of cultural research matter: instead of substantial, post-personal anonymity states, the practice of fabricating anonymity in electronic pop music (in discourse and sound) is its starting point. From there, it focuses on anonymity performances – institution-critical practices of star personality that operate within the discursive and media institutions of pop music. Adopting a symmetrical methodology, two personality-critical projects from the field of electronic pop music are addressed as laboratory cases and consulted for their tactical operations. Their anonymity performance practices – tactical persona performance, fake or collaborative imagination of a musical persona – take the form of immanent and particulate ‘critical practice’ (Butler, Foucault). Rather than distancing themselves from their ‘object’ of critique, these laboratory cases engage in concrete, affirmative or self-critical performances of pop stardom. Their resistance to the frameworks of identification and discursivity in pop both engages with and corrodes the epistemic-constitutional level of the field of pop music. How can researchers learn from such musico-artistic knowledge practices? Guided by its laboratory cases, this study proceeds from a detached reading of an electronic pop music live performance as a (poststructuralist) study of persona construction in pop music to become an engaged performance ethnography. Performance is incorporated as critical academic practice through a reflexive and increasingly performative writing style. The study concludes with the advocation of an ethnographic research format derived from one laboratory case: the collaborative investigation of imaginary research objects as a radical implementation of the performative turn in the cultural studies of music.
8
Cahn, Dan. "The effects of practice procedure and task difficulty on tonal pattern accuracy." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/cahn%5Fdan/index.htm.
Full text
9
Burghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.
Full text
10
Harrison, William Brady II. "FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/139.
Full textAbstract:
Premise and Objectives
In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices.
Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire.
Method
To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program.
Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time.
Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered.
Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase.
Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications.
Conclusion
By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.
11
Hill, Colin J. "The 10,000-Hour Threshold: Interviews with Successful Percussionists." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/31.
Full textAbstract:
Musicians are universally reliant on practice to improve and perfect their craft and there is substantial evidence that suggests mastery can only be achieved after 10,000 hours of practice early in life. This dissertation explores the validity of this theory as it pertains to master percussionists and examines their discoveries and recommendations as to how those 10,000 hours should best be spent. Research sources include selected published literature and personal interviews with thirty-six percussionists, conducted between 2010- 2013. The research is summarized in the following six sections: the 10,000-hour threshold; planning a practice session; warming up; learning new music; problem spots; and performance preparation. The primary goal of this dissertation is to detail the specific practice methods currently implemented by many of today’s most successful percussionists. This research should reveal the various ways success can be achieved in the practice room and help aspiring and accomplished professionals alike explore and integrate new practice methods and philosophies into their own careers and the careers of their students.
12
Metsvahi, Liisi. "Overcoming stage fright starting in the practice room." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3257.
Full textAbstract:
The purpose of this research is to overcome stage fright through different techniques of thorough preparation in the practice room. The main methods discussed are mindfulness and mental training. Five selected orchestral excerpts have been prepared and performed using these methods, then presented as recordings in three different situations and analysed according to the performance quality that is then measured by percentage. From my research I deduct that mental training is an essential part of practising that leads to less stage fright and will increase performance results dramatically.Eduard Oja Piano Quintet
Medverkande: Anna-Lena Ohlwein, Doris Mägi, Viktoria Hillerud, Joline Granath
13
Vinci, Teresa. "Performance practice in Hungarian folk music and its relationship to the Style Hongrois." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2265.
Full textAbstract:
This study investigates style and performance practice within the oral traditions of Hungarian folk music, and explores intersections with the nineteenth-century idiom style hongrois. Interviews, lessons, and workshops were undertaken as part of a practice-based immersive research experience, and comparisons with the style hongrois made via analysis of scores and recordings of Jeno Hubay (1858-1937). The research strives towards an ‘Historically Informed Performance’ specific to these styles, and explores how they can inform each other. Findings are presented through a dissertation and a CD recording “Never Far Away…” comprising the researcher’s violin performance as leader of an Hungarian folk band.
14
Hearn, William Bernard. "Performing the music of Alonso Mudarra: An investigation into performance practice in the music of the vihuelistas." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187171.
Full textAbstract:
This paper re-examines and attempts to expand current scholarly knowledge concerning correct performance practices for sixteenth-century Spanish vihuela music, with a focus on the Tres Libros de Musica en Cifras para Vihuela by the vihuelista Alonso Mudarra. The study is organized into five areas: fretting and temperament, stringing, technique, rhythm and tempo, and ornamentation. The study on fretting, based on an analysis of Mudarra's music for signs of either meantone or Pythagorean temperament, presents evidence pointing towards the Tres Libros' use of a meantone temperament, as well as a practical approach to the use of a meantone fretting in performances of Mudarra's music. The results of this analysis are compared to conclusions reached in similar studies of Luis Milan's El Maestro. Evidence of use of meantone temperament in Enriquez de Valderrabano's Silva de sirenas is also quoted. The study on stringing challenges the current scholarly assumption that all vihuelists used unison-strung basses. A case for some use of octave-stringing by vihuelists is presented via re-interpretation of literary evidence in Diego Pisador's Libro de Musica and Juan Bermudo's Declaracion; comparisons to stringing on the viola da mano, Renaissance guitar, and Renaissance lute; and an examination of fingerings in Mudarra's Tres Libros and Miguel de Fuenllana's Orphenica lyra. The study on technique attempts to determine the probable use of thumb-out or thumb-under technique by each of the vihuelistas and discusses the technical and musical implications of Mudarra and Milan's use of dedillo. The study on rhythm and tempo focuses primarily on the suitability of extempore rhythmic liberties described in Thomas Sancta Maria's Libro llamado Arte de taner Fantasia in performances of music by Mudarra. Similarly, the study on ornamentation describes and examines the suitability of ornaments given by sixteenth-century Spanish theoreticians, such as Luys Venegas de Henestrosa and Juan Bermudo, for use in the performance of music from Mudarra's Tres Libros.
15
Tarr, Christopher J. "Practising jazz performance: An investigation into the process that underpins optimal instrumental practice in the jazz idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1921.
Full textAbstract:
Little formal research has been undertaken into the processes associated with jazz improvisation, particularly those associated with practising to become an elite jazz improviser. This study seeks to understand the role of instrumental practice, particularly physical practice strategies and the associated mental states, in the development of jazz improvisers. Interviews were conducted with six improvisers of various ages, instruments and backgrounds. The study identified a number of strategies specific to jazz practice that differed from traditional practice strategies described in Western art literature, particularly in relation to the importance of the ear-to-instrument connection. Accordingly, the study sets out a series of recommendations relating to practice for those aspiring to become master jazz performers.
16
Healy, Kristine. "Imagined vocalities : exploring voice in the practice of instrumental music performance." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34692/.
Full textAbstract:
To play an instrument in a way that is considered “vocal” has been an emblem of artistry for instrumental musicians in the Western classical tradition for centuries. Despite the ubiquity of vocal references in the talk and texts produced within this community, there is little consensus as to what vocality means for instrumental musicians, and few questions are asked of those who claim to advocate for a vocal style of playing. Whilst vocality for instrumentalists has been dealt with in existing scholarship through discussion about the emulation of specific techniques such as vibrato and portamento, by investigating the principles of rhetoric and their relationship to temporal and articulatory issues, and in philosophical commentary on vocality as an ideal to which instrumentalists aspire, attention has not yet been paid to how “voice” is produced and manipulated discursively by instrumental musicians in the social contexts of their professional lives. Therefore, this thesis explores some of the ways in which instrumental musicians construct vocality in contemporary discourse about the practice of performance. In this thesis, a series of excerpts from pedagogical texts on instrumental music performance written in the eighteenth, nineteenth, and twentieth centuries is presented to illuminate a discussion about vocality that has long been ongoing. Subsequently, a discourse approach is taken to the analysis of transcribed excerpts from four audio-visual recordings of instrumental masterclasses, alongside additional excerpts drawn from interviews with instrumental musicians and a variety of other contemporary texts. During the analytical process, two interpretative repertoires—recurring ways in which instrumental musicians construct vocality—are identified: the knowing voice and the disciplined voice. The discursive actions facilitated by musicians’ employment of these repertoires are examined in relation to the discourse excerpts. In response to this analysis, three claims are made. The first is that vocality is polysemic: it is constructed according to the social context and action-orientation of the discourse in which it is embedded. The second is that vocality is linked to the reproduction and naturalisation of normative musical practices. The third is that in musicians’ talk and texts, the construction of musical ideas is entangled with the construction of identities, and stories of voice provide especially rich material for authoring selves in the context of the masterclass. This thesis calls for expert performers to acknowledge, question, and engage critically with the ways in which they produce and perpetuate musical principles in their day-to-day practices, and for them to make space for developing musicians to do the same.
17
Lewis, Bethan. "Interrogating the aesthetic : the 'historically informed performance' contribution /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18508.pdf.
Full text
18
Palter, Morris S. "The solidification of performance practice issues in solo percussion performance /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2005. http://wwwlib.umi.com/cr/ucsd/fullcit?p3171113.
Full textAbstract:
Thesis (Ph. D.)--University of California, San Diego, 2005.An examination of the development of performance practice developed in the relationships between performers and composers, with emphasis on three works: Psappha by Iannis Xenakis, Wave/s by Thomas DeLio, and Attitudes--assumptions shattered by Derek Keller. Vita. Includes tape cassette (digital ; 2 7//8 x 2 1/8 in., 3/16 in. tape) with recording of one of the works discussed.
19
Marckx, Leslie Hirt. "French Baroque influences on Johann Sebastian Bach's Six suites for violoncello solo : with an emphasis on French court dance and Suite V /." Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11220.
Full text
20
Mielke, Susan. "Mental Practice In Music Performance: A Literature-Based Glossary and Taxonomy." Thesis, Université d'Ottawa / University of Ottawa, 2017. http://hdl.handle.net/10393/35863.
Full textAbstract:
Mental practice is a strategy that can be used to acquire the necessary skills for piano and other music performance. This type of practice strategy involves the use of imagery as opposed to the motor skills used in physical practice. In a preliminary review of piano pedagogy material and recent scientific literature, the benefits of mental practice were established. However, this review also revealed a lack of clarity in the use of terminology which sometimes interfered with readability. In order to better understand this problem of terminology, 33 current studies on mental practice in music performance were collected and examined for both the quantity and quality of term usage. Terms were identified and recorded using existing terminology and classification methods. Terminological records were created for each term appearing more than twice in the literature. In total, 83 records were created. Issues related to frequency of use (repetition), use of multiple terms (synonymy), lack of term definitions, and the need for clarity in term usage (semantic vagueness and ambiguity) were then analyzed using these records. This term analysis process resulted in the creation of a glossary and taxonomy. The glossary of 21 terms and corresponding hierarchical taxonomy (tree diagram) are proposed as an aid to help clarify the terminology of mental practice in music performance. Given the value of mental practice in learning to play music it is important to develop and maintain terminology that will facilitate both the understanding of existing literature and the design of future studies.
21
Harrison, Bernard M. "Aspects of performance practice in the keyboard music of Joseph Haydn." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315062.
Full text
22
Guldberg, Ravn Clara. "Music and Meaning : What is meaningfulness in practice and in performance?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2509.
Full text
23
Mussard, Timothy S. "Embellishing Schubert's Songs : a performance practice /." Thesis, Connect to this title online; UW restricted, 1987. http://hdl.handle.net/1773/11217.
Full text
24
González, Jimmy. "A comparative analysis of band contest practices in ten different states across the nation." To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2007. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.
Full text
25
Knodle, Aaron. "Discovering Bach's Altos." University of Cincinnati / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1542723597865471.
Full text
26
Tersigni, Andrea. "The American School of violin playing : a reality /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/11248.
Full text
27
Liao, Chiann-Yi. "Trilogy-Prokofiev's War Sonatas : a study of pianism diagnosis and performance practice /." Connect to resource, 1999. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1118237294.
Full text
28
Daughters, James Robert. "MARCH PERFORMANCE PRACTICES OF HENRY FILLMORE WITH STYLE GUIDES AND HISTORICAL EDITIONS OF SELECTED WORKS." UKnowledge, 2017. https://uknowledge.uky.edu/music_etds/101.
Full textAbstract:
With a career spanning over four decades, Henry Fillmore earned wide recognition as an important and prolific composer of marches and trombone smears in the wind band medium. While he contributed significantly to chamber music, solo literature, vocal settings, and arrangements for band, his compositions for wind band have arguably provided his most universal acclaim. Fillmore’s published marches are unique in that scores rarely had performance markings and contained little more than notes and repeat signs. Fillmore conducted most of his marches and altered march strains, changed orchestration, and added stylistic markings that were not indicated in the original printed score.
This research is focused on preparing and presenting historically accurate performances of the marches and smears of Henry Fillmore with appropriate march style. More specifically, the author wishes to provide an approach to the interpretation of Fillmore’s music that directly portrays the historical performance practices of Fillmore’s performances of his own works and interpretative methodology. Those who wish to consider this historically accurate approach may apply this document’s analysis of primary source recordings of Fillmore conducting his music in addition to new included performance editions of specified marches and smears.
29
Williams, Sean Barry Kelly. "Electronic music instrument practice and the mechanisms of influence between technical design, performance practice and composition." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7890.
Full textAbstract:
This thesis examines the practices and techniques involved with particular electronic instruments and proposes an archaeological approach to reconsider the ways in which noise can communicate various details of instrument design and practice to the listener. I present two case studies concerning electronic music practice using repurposed devices - stepped filters - and by combining a detailed material analysis of the instruments with interviews, video and other evidence, I document the practices involved with their use. By rebuilding these instruments, and designing and building other devices, I test my hypotheses through my own practice, and by doing so I refine my results and extend my composition, performance practice and technical design skills to include valuable lessons learned through this research. The portfolio engages with the three archaeological levels (Listening Situation, Reproduction Stage, Production Environment) and the three areas of the production continuum (Composition, Performance Practice, Technical Design) and through sound installations, crafted media, recorded performances, and the documentation of devices designed for these pieces, it supports the thesis through experimentation and incorporation of results through reflective practice.
30
Stanbury, Christopher. "Playing the changes : rediscovering the lexicon of electronic organ performance practice from 1943 to 2015." Thesis, University of West London, 2017. https://repository.uwl.ac.uk/id/eprint/4753/.
Full textAbstract:
This thesis explores the historical development of the electronic organ via the survey, analysis and comparison of stylistic practices heard in historic recordings. This project establishes that the instrument went through several significant stages of development since its introduction in 1935, which have hitherto been undocumented in scholarly work. As this thesis will show, the changing design of the instrument can be aligned with an evident expansion in the stylistic lexicon of musical arrangement and performance. This aural-based micro-genre of electronic music is rediscovered via a multi-faceted survey model that triangulates the results of transcribed recordings, reconstructive performance on period instruments and practitioner survey. This addresses the typical challenge of historical instrument study: that of defining the degree to which technology shapes musical performance. Chapter One places the instrument within a cultural context via a review of literature. The reason for the instrument’s lack of appeal to musicologists is explained as the result of an image problem: the instrument is often regarded as a dated appliance of home entertainment and exists within a method of practice which aligns more closely to that of jazz than Western art music. By removing stereotypes and establishing the displaced cultural values that the instrument embodies, it is possible to see the true value of the research process. Chapter Two begins to present the findings of the survey by examining some of the earliest recordings made on the Hammond organ. The chapter illustrates how certain design flaws in an instrument that was originally Christopher Stanbury Introduction 6 intended as a low-cost replacement for a pipe organ led to an entirely different trajectory than the inventor’s initial ecclesiastical application. Chapter Three details further updates to the original Hammond design whilst correcting and expanding upon previous definitions of features that are defined in literature. The Lowrey organ is also introduced, along with an illustration of why the unique features and tonal qualities of the instrument resulted in a different approach to musical arrangement and performance. Chapter Four documents the introduction of emulative voicing, whereby instruments of the nineteen seventies and early eighties were designed to imitate the sound of other acoustic instruments. The resultant change in arrangement and performance style is illustrated and compared to the results of previous chapters. Chapter Five details instruments made by the Yamaha Corporation that feature digital synthesis technologies. The vast distance between these instruments and previous models, both in terms of technological profile and resultant performance practice, is illustrated and discussed. Chapter Six provides a summary of the survey findings and reexamines the evident changes in the instrument and performance practice. The nature of the relationship between organist and instrument is discussed, along with a return to some of the literature reviewed in Chapter One. Discrepancies between the conclusions of some authors and those of this thesis are outlined and discussed.
31
Liertz, Carmel, and n/a. "Developing performance confidence : a holistic training strategies program for managing practice and performance in music." University of Canberra. Communication & Education, 2002. http://erl.canberra.edu.au./public/adt-AUC20060817.132817.
Full textAbstract:
The thesis aims to address a perceived gap in the training and development of
music performers, namely the lack of a practical strategies framework for
developing performance confidence, especially self-efficacy (situational selfconfidence)
in music performance. To this end, a Training Program with Training
Manual was designed to assist musicians in the management of practice and
performance, using a framework of six integrative mental and physical strategies
taken from Sport Performance and applied to Music Performance. Five musicians
trialed the Training Program for five weeks. Five individual case studies were
constructed to explore and interpret the musicians' practice and performance
experiences before and after using the Training Program / Manual.
Analyses of in-depth interviews and a follow-up questionnaire revealed that the
Training Program had produced positive changes in mental and physical
behaviour, along with increased concentration ability and coping skills in stressful
situations, resulting in a sense of control in performance. A cross-case analysis
revealed that the shared issues of significance for the musicians were
Concentration, Stress and Lifestyle Practices, and Sense of Control in practice and
performance.
This qualitative study demonstrates that a training program addressing the
lifestyle context of music performance is beneficial for practice and the lead-up to
performance. Confidence in playing ability develops, when practice and
performance are perceived to be effectively self-managed and practice becomes a
positive experience. The findings of this study suggest the need for a holistic
approach to music performance, based on awareness of the mind-body
connections involved in performance.
32
Seymour, Rebecca. "Issues of performance practice in the violin works of Johannes Brahms (1833-1987) /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19278.pdf.
Full text
33
Schroeder, Franziska. "Re-situating performance within the ambiguous, the liminal, and the threshold : performance practice understood through theories of embodiment." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1949.
Full textAbstract:
This thesis investigates performance as an embodied practice. It draws on theories of embodiment, which act as a catalyst for thinking about performance, and thus provide an interdisciplinary framework for conceptualising the body in performance. I explore a discourse that situates performance itself within the liminal, as an in-between condition, as something that does not fit in. I reflect on performances, ranging from music to cosmetic surgery, and I highlight the in-between conditions and the marginalised space that in my view posits performance as multivalent, multifaceted and full of potential. This line of enquiry is informed by my view of the body as a site of change, discord and ambiguity; what one can refer to as the threshold condition, or what Victor Turner calls the “state of betwixt and between” (Turner, 1982, p.17). I take the body as a starting point for this discussion, as I consider the body as a vanguard to providing a different view to the majority of current music and performance writings. I subscribe to the view that the multi-faceted and, at times, highly controversial debate that has been applied to the body, has not been equivalently explored in the discussion of performance. My background as a music performer who works extensively with new technologies leads me to examine predominantly performance environments that use such technologies. I thus draw on examples from laptop performances and from my work as designer and musician of various performative environments. Other ideas in this thesis are informed by the ways in which I engage with an instrument, prepare for, and think about a performance, as well as from being a listener to somebody else’s performance. A body of writings from various other disciplines forms the backbone to my investigation. I believe that these writings draw attention to essential facets of performance activities and provide different ways of conceptualising performance that I argue are currently under-explored in current music and performance texts.
34
Lee, Sheri Renee. "Four Twelve-Tone Violin Compositions: Performance Practice and Preparation." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242516300.
Full textAbstract:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Steven Cahn. Title from electronic thesis title page (viewed Aug. 11, 2009). Includes abstract. Keywords: twelve-tone; violin. Includes bibliographical references.
35
Pierson, Michael Eldon. "Effects of mental and physical practice on 6th grade beginning band instrumentalists' performance accuracy." Thesis, This resource online, 1992. http://scholar.lib.vt.edu/theses/available/etd-09122009-040243/.
Full text
36
Stevens, Alan. "Indications Concerning Contemporaneous Performance Practice in the Prose Writings of William Billings." Diss., The University of Arizona, 2012. http://hdl.handle.net/10150/222835.
Full textAbstract:
Choral music in the United States before 1800 was almost exclusively composed by tunesmiths who also worked as singing masters. William Billings (1746-1800) was the most prolific of these composers, and, in 1770, he was the first individual in North America to publish a collection composed entirely of his own works. This collection was known as a tunebook, and was designed to assist in the teaching of musical fundamentals and vocal performance in the singing schools. Five additional tunebooks followed; three of these six contained lengthy prose introductions in which Billings addressed pedagogy, music theory, and sight singing. This prose provides important information about the performance practice of the period, including the issues of accompaniment, articulation and text, dynamics, balance and voicing, ornamentation, and vocal timbre. Previous researchers have often mistakenly grouped the music of the tunesmiths with the later southern hymnists. This has distorted many general notions of historically informed performance practice for the pre-1800 tunesmiths. An examination of what Billings specifically says regarding issues of performance practice in his tunebook introductions, as well as inferences from additional prose material, will help to guide modern conductors to more historically appropriate performance practice. A comparison of this information to prior research will isolate approaches that have previously been considered accurate performance practice, but may, in fact, be inappropriate for choral music of this genre. Finally, an understanding of the intended purpose of the compositions, as well as the historical context, will help to inform performance practice.
37
Herrington, James. "Towards an interactive environment for the performance of Dubstep music." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1582.
Full textAbstract:
This Masters by Research project explores the integration of different concepts relating to the presence of the human body in Dubstep music performance. Three intended performance systems propose that the body is the logical site for the interactive control of live Dubstep music. The physicality and gestures of instrumentalists, choreographed dancers, and audience members will be examined in order to develop new and exciting ways to perform this genre in a live setting.
The systems take on a three-tiered hierarchical approach on two levels in regards to the extraction of gestural information from human body movements, as well as in regards to the importance – and length – of musical phenomena and parameters that are under control. The characteristics of Dubstep music are defined and maintained within each interactive music system. A model for this each proposed system will be examined, including discussion of the technology and methodology employed in order to apply the two hierarchies and create the interactive environment.
38
Handshoe, John Douglas. "TYLER KLINE’S RENDER: A FORMAL ANALYSIS AND PERFORMANCE GUIDE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/130.
Full textAbstract:
Since the 1950s, composers worldwide have explored the use of the trombone in new and exciting ways, from expanding the functional range of the instrument to creating unique timbres through the use of mutes and extended techniques. Since then, many standard works in the literature have been born from this pushing of the envelope from composers like John Cage, Luciano Berio, Iannis Xenakis, and Daniel Schnyder.
On the forefront of the newest crop of composers expanding the voice of the trombone is Tyler Kline (b. 1991). This project will function as a formal analysis and performer’s guide to his 2015 work render for bass or tenor trombone and fixed electronics. Through examination of this music, as well as a discussion with the composer and performances of this work, the performer will gain insight into the inspirations behind this work, Kline’s compositions on the whole, as well as performance considerations for this work. In addition to the performance guide, a recording of render, as well as several other works of Kline’s, will be produced and released as an album through New Branch Records in Lexington, KY.
39
Pitfield, Spencer Simpson. "British music for clarinet and piano 1880-1945 : repertory and performance practice." Thesis, University of Sheffield, 2000. http://etheses.whiterose.ac.uk/6040/.
Full textAbstract:
This thesis is a study of British music for clarinet and piano composed between the years 1880 and 1945. The research has established a considerable repertoire of pieces, many of which are completely unknown to clarinettists today. There are two types, sonatas and character pieces. The discussion focuses on a number of substantial works. The sonatas by William Henry Hadow, William Henry Bell, George Frederick Linstead and Roger Fiske have been published (2000) in connection with this study, and critical analyses of the sonatas by Hadow and Fiske are included in the thesis, as are analyses of 'character' pieces by Richard Henry Walthew and Joseph Charles Holbrooke. It is the author's opinion that many of the works discovered demand close attention from contemporary performers. The thesis includes chapters on the British social background and its effect on musical activity; on Brahms's influence; on instruments and on the British playing tradition. The Brahms/Mohifeld relationship was probably the single most important element in establishing a strong clarinet culture in Britain at the turn of the 20th century. Native compositions were extremely popular throughout the period and indigenous performers achieved high levels of technical and artistic ability. The research noted a gradual swing away from the 'simple-system' towards the 'Boehm-system'. However, neither system dominated the other and throughout the period many disparate instrumental systems were in use in the British Isles. A chapter on performance practice draws upon evidence from early recordings. Playing before 1900 was regimented and exact in execution. After the turn of the 20th century there was a move towards freer, less restricted playing. This culminated in the outstanding playing of Reginald Kell. His refinement and artistry were unsurpassed by any other native performer of the period.
40
Chipendo, Claudio. "Towards a changing context and performance practice of mbira dzavadzimu music in Zimbabwe." Thesis, University of Fort Hare, 2015. http://hdl.handle.net/10353/6357.
Full textAbstract:
Mbira dzavadzimu music and performance practice has been in existence since the pre-colonial era. It played a crucial role in ritual and non-ritual activities of the Shona people of Zimbabwe. However, political, social and global influences as well as technological advancement have resulted in change of context and performance practice. Unfortunately, these have not been recorded for future generations. The major aim of the study is therefore to examine the change of context and performance practice of mbira dzavadzimu in Zimbabwe. This was achieved by reviewing mbira dzavadzimu music and performance practice within the modern setting of dandaro. I looked at change from a theoretical lens of the theory of diffusion, syncretism and mediatisation. The study was in the qualitative form superimposed on some case studies. Unstructured interviews, participant and non-participant observations were the main instruments used to collect data from both traditional and modern mbira performances. Data was also collected from museums, archives, radio and television stations. The study established that the changes in context and performance practice of mbira dzavadzimu in Zimbabwe were to a larger extent due to foreign influences such as colonialism, the coming of missionaries, modernisation, urbanisation, commercialisation, mediatisation, the use of modern technology and institutionalisation. Due to the aforementioned influences, the environmental settings, the change of context from sacred to secular, the relationship with ancestral spirits, musical practices, performance situations and quality of sound, have been modified and adjusted in response to the influences of the globalised world’s ever changing audience and performance space. In short, this has resulted in a shift of mbira performances from its traditional to modern settings, from the village to the city and onto the international scene with a new performer-audience setting. Various innovations were carried out on the instrument and its music as a result of the advent of modern technology. The use of microphones, modern amplification systems, recording studios, radio and television broadcast, audio and video cassettes, CDs, DVD, teaching of the instrument using audio and video instructional models and the use of internet sites in learning how to play mbira dzavadzimu and other instruments have become a reality. It has been evident from the study that urban and rural areas take up change in different ways and that in the former change is more pronounced than in the latter. Urban area communities are more “developed” than their rural counterparts because the former are more exposed to technological influences and the commercialisation of music. The study has also established that Zimbabwean mbira music is a good example of modern transculturality. The instrument and its music have played a major role in breaking down cultural boundaries and bringing the people of the world together for purposes of performing on the instrument. From the findings of this study, I attribute most of the changes to technologisation, for most of the changes that have taken place on mbira dzavadzimu were a result of the highly technologised way of life Zimbabweans now lead.
41
Strohman, Gregory. "Psychoacoustic Entropy Theory and Its Implications for Performance Practice." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/281332.
Full textAbstract:
Music PerformanceD.M.A.
This dissertation attempts to motivate, derive and imply potential uses for a generalized perceptual theory of musical harmony called psychoacoustic entropy theory. This theory treats the human auditory system as a physical system which takes acoustic measurements. As a result, the human auditory system is subject to all the appropriate uncertainties and limitations of other physical measurement systems. This is the theoretic basis for defining psychoacoustic entropy. Psychoacoustic entropy is a numerical quantity which indexes the degree to which the human auditory system perceives instantaneous disorder within a sound pressure wave. Chapter one explains the importance of harmonic analysis as a tool for performance practice. It also outlines the critical limitations for many of the most influential historical approaches to modeling harmonic stability, particularly when compared to available scientific research in psychoacoustics. Rather than analyze a musical excerpt, psychoacoustic entropy is calculated directly from sound pressure waves themselves. This frames psychoacoustic entropy theory in the most general possible terms as a theory of musical harmony, enabling it to be invoked for any perceivable sound. Chapter two provides and examines many widely accepted mathematical models of the acoustics and psychoacoustics of these sound pressure waves. Chapter three introduces entropy as a precise way of measuring perceived uncertainty in sound pressure waves. Entropy is used, in combination with the acoustic and psychoacoustic models introduced in chapter two, to motivate the mathematical formulation of psychoacoustic entropy theory. Chapter four shows how to use psychoacoustic entropy theory to analyze the certain types of musical harmonies, while chapter five applies the analytical tools developed in chapter four to two short musical excerpts to influence their interpretation. Almost every form of harmonic analysis invokes some degree of mathematical reasoning. However, the limited scope of most harmonic systems used for Western common practice music greatly simplifies the necessary level of mathematical detail. Psychoacoustic entropy theory requires a greater deal of mathematical complexity due to its sheer scope as a generalized theory of musical harmony. Fortunately, under specific assumptions the theory can take on vastly simpler forms. Psychoacoustic entropy theory appears to be highly compatible with the latest scientific research in psychoacoustics. However, the theory itself should be regarded as a hypothesis and this dissertation an experiment in progress. The evaluation of psychoacoustic entropy theory as a scientific theory of human sonic perception must wait for more rigorous future research.
Temple University--Theses
42
Weidenbach, Vanda Geraldine, of Western Sydney Nepean University, and Faculty of Education. "The Influence of self-regulation on instrumental practice." THESIS_FE_XXX_Weidenbach_V.xml, 1996. http://handle.uws.edu.au:8081/1959.7/494.
Full textAbstract:
The main purpose of this dissertation was to explore the psychomotor and cognitive characteristics of the practice behaviours of a group of novice keyboard instrumentalists and to identify those factors which had most significant influence on performance achievement. The pivotal question guiding the study was 'How can one characterise the effects of practice strategies on the performance outcomes of this group of novice performers?' Six research questions were examined. The first three concerned student predisposition, practice procedures, and performance achievement. The second three questions examined the relationships between personal characteristics, practice behaviours and performance outcomes. The results of the study indicate that some beginners are capable of cognitive engagement in the execution of practice. Students who planned, analysed and evaluated practice strategies, both mentally and physically, were identified as self-regulated learners. These students were the more successful achievers. Students who made use of the technology, specifically for instructional purposes, made more gains that those that did not. Accumulated practice was not found to influence performance achievement. Implications for future research on this little explored subject were includedDoctor of Philosophy (PhD)
43
Liu, Cha-Lin. "Performance practice issues in Piano sonata no. 3 in F minor op. 5 by Johannes Brahms." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1417807671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Full text
44
Ferrell, Roger Scott. "The performance practices of Giacomo Puccini's "Che gelida manina" from La bohème : a study of stylistic development and transformation /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p9983124.
Full text
45
Rodrigues, Ruth Elizabeth. "Selected students of Leopold Auer : a study in violin performance-practice." Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/739/.
Full textAbstract:
This thesis investigates the teaching and legacy of Leopold Auer; it addresses, in particular to what extent his promulgation of the ‘German’ School of Violin Playing was instrumental in establishing the ‘Russian’ and ‘American’ Schools. Recent research in late 19th-century violin performance-practice has focused mainly on the ‘German’ and ‘Franco-Belgian’ Schools, and on tracing ‘genealogies’ of violin playing, especially within the ‘German’ school itself. Auer, however, has been little studied, as remarkably is also true for descendents of the German school such as Ossip Schnirlin, Benno Rabinof, and Mischa Weisbord. This research will also briefly examine the authority of Joachim and Auer (who were both native Hungarians) on their students with regards to Hungarian musical gestures and Gypsy performance styles, in an era where violin playing was more uniform and the style hongrois gradually disappearing from Western music altogether. A clearer picture of Auer, his influence and the achievements of his students, allows us to form a more sophisticated image of late 19th-century to early 20th-century violin performance practice, and of the much disputed question of the existence of distinct national schools in this important transitional era.
46
Carter, Jennifer. "Assessment Practice in Year 10 Elective Music in New South Wales Secondary Schoolse." Thesis, The University of Sydney, 2012. http://hdl.handle.net/2123/9243.
Full textAbstract:
This research project investigates and analyses the implementation of the New South Wales Music Years 7 – 10 Syllabus assessment requirements in three specifically selected schools. At present, no research focusing on classroom approaches to developing and implementing a school-based assessment program has been undertaken in Music in Stage 5 (Year 10) in NSW classrooms. Therefore, this research project will add to the international body of knowledge regarding school- based music assessment. The research project focuses on Year 10 in the NSW Curriculum. Research has shown that this is a time when some students have seemingly disengaged from learning, studying and achieving. This research found that in music, students involved in the project are actively engaged at most levels of music learning. The research aimed to provide an opportunity for teachers to consider their assessment practice, the value of feedback to students after tasks are completed and ways in which they prepare their students for each task or topic. For students, it is hoped that they would reflect on their assessment preparation, its value in their learning and the value of teacher feedback in this process. The data has been collected in the natural setting of the selected schools where the researcher interviewed the teachers and students and observed their behaviour within their natural context (Creswell, 2009). This ethnographic method has advantages because of the capacity to provide a picture of the environment being studied. As the study has taken place over three school terms, it has a longitudinal perspective. The research provides a comprehensive picture of assessment in the Year 10 music classroom through the comparison of experiences within the three schools. It demonstrates the variety that exists in the planning and delivery of assessment tasks, the variety of resources utilised between schools and the different levels of feedback given after tasks. It also points to the inequity that currently exists in the awarding of a School Certificate grade from school to school in a subject such as music which relies on internal assessment.
47
Sokolnicki, Savanna. "GRETCHEN’S SOLILOQUY “ACH NEIGE, DU SCHMERZENREICHE” FROM GOETHE’S FAUST: A VOCAL PERFORMANCE ANALYSIS AND SET OF PERFORMANCE GUIDELINES FOR VARIOUS SOLO VOICE SETTINGS." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/60.
Full textAbstract:
The great novelist and poet Johann Wolfgang von Goethe (1749 – 1832) arguably made his most significant contribution to the artistic world with his literary masterpiece Faust I. Goethe’s love of music and melody is evident throughout all of Faust, particularly in the expressive poetry of the character of Gretchen, whose meaningful words gave inspiration to a variety of musical manifestations, especially in German Lied.
This document serves as a performance guide for vocalists. It provides vital information on the setting and arrangement of the poetry within the musical settings, the background and significance of the composer and his works, and the organization of the music. The examination of each piece will involve assessment of musical phrasing, tessitura, and overall vocal complexity in eight German Lieder settings of Gretchen’s soliloquy “Ach neige, du Schmerzenreiche” from Goethe’s Faust. The suggestions within the investigations are based on examination of pedagogical practices as well as personal experience and discoveries made while singing and performing these pieces. Through an investigation of each piece, the singer will be able to attain a successful understanding of the framework and approach to the music and poetry, and thereby achieve awareness of accurate performance practice.
This document examines in order of composition, the settings by Bettina von Arnim, Franz Schubert (including the completed fragment as arranged by Benjamin Britten), Conrad Kreutzer, Bernhard Klein, Johann Loewe, Robert Schumann, Hugo Wolf, and Fredric Joseph Kroll. Because this document serves to investigate only German Lieder settings, it will not examine the choral works of Hans Pfitzner, Antoni Radziwill, Julius Röntgen, Giuseppe Verdi’s Italian setting “Deh, pietoso, oh Addolorata,” nor Richard Wagner’s Melodram. This document will also very briefly discuss the lost and inaccessible settings of Gretchen’s prayer, including those of Carl Debrois van Bruyck, Edmund von Freyhold, Moritz Hauptmann, Justus Lecerf, Leopold Lenz, Louis Schlottmann, and Hans Sommer.
48
Harman-Bishop, Caroline Marguerite. "Aristotelian virtue and teaching and learning in music performance." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9009/.
Full textAbstract:
This study investigates the significance of Aristotelian virtue in teaching and learning in music performance. In response to a number of critical issues in professional practice, it is argued that virtue, framed within eudaimonistic happiness, should form an integral part of teaching and learning. Through an examination of Aristotle’s analysis of virtue, and primarily through his Nicomachean Ethics, virtue is presented as having the hallmarks of dynamic and responsive action and therefore as being of potential interest to teachers of music. Having acknowledged that music performance can be a particularly challenging arena, this study also considers why Aristotle, via his analysis in Politics of the reasons for educating students in music, provides further underlying reasons for its inclusion. By considering the work of one of his students, Aristoxenus, the investigation also establishes that here in Aristotle is a philosopher-teacher who is, we can be reassured, very much an informed music ‘amateur’. Noting the twofold importance that Aristotle gives to music in education, that is, how music contributes to our development and the worthwhile nature of understanding music for itself, the discussion explores and clarifies the notion of music performance. A range of frameworks are analysed and, after Godlovitch, personalism is defended as a framework. This is significant because personalism recognises the individual as both musician and human being. Thus, the demands, on both character and intellect, emerge strongly here as they do in Nicomachean Ethics. Having established that music performance is demanding, of both character and intellect, the virtue of courage is argued as crucial. The Aristotelian notion of courage is tested and its reaches extended, partly through the analysis of case studies. Ultimately, it is posited that courageous action forms part of eudaimonistic happiness. This study also considers Egan’s theory that intellectual disturbance occurs during stages of learning, thus providing further demands. It is argued that, in responding to such disturbance, teachers’ practice should embody characteristics of Aristotelian practical wisdom. In this way, it is posited that teachers act as valuable role models, both to their students and to their colleagues, including those colleagues new to the profession. With these challenges now identified and analysed, music performance is conceptualised as gift making. Importantly, this contributes to foregrounding the significant aspect of pleasure that is integral to Aristotelian virtuous action. The discussion closes by providing a defence of the position that Aristotelian virtue is of significance to teachers and students as they navigate their daily existence within the world of music performance.
49
Postema, Darren Anthony. "Baroque and piccolo trumpet : an historical analysis with emphasis on performance practice and teaching techniques." Master's thesis, University of Cape Town, 1992. http://hdl.handle.net/11427/12686.
Full textAbstract:
Bibliography: leaves 62-64This dissertation is not only an historical comparison between the trumpets used in the baroque period and those used in our present century, but attempts to focus on how performance techniques have changed and the implications of these changes for trumpeters who wish to perform the baroque repertoire in an "authentic" style. The recent construction and availability of high quality prototype baroque trumpets, has enabled many to relearn the difficult art and has added yet another important dimension to the teaching pedagogy of trumpet.
50
Gingerich, Carol Joy. "The French piano style of Fauré and Debussy : cultural aesthetics, performance style characteristics, and pedagogical implications /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11974679.
Full textAbstract:
Thesis (Ed.D.)--Teachers College, Columbia University, 1996.Typescript; issued also on microfilm. Sponsor: Hal Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 256-262).