Relevant bibliographies by topics / Pius X School of Music

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Pius X School of Music'

Author: Grafiati
Published: 4 June 2021
Last updated: 16 February 2022

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Journal articles on the topic "Pius X School of Music"

1

Horner, Judith. "The Music Circus Comes to School." British Journal of Special Education 14, no. 1 (May 31, 2007): 14–15. http://dx.doi.org/10.1111/j.1467-8578.1987.tb00264.x.

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Erickson, Frederick. "THE MUSIC GOES ROUND AND ROUND: HOW MUSIC MEANS IN SCHOOL." Educational Theory 45, no. 1 (March 1995): 19–34. http://dx.doi.org/10.1111/j.1741-5446.1995.00019.x.

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Gaitandjiev, Gencho, and Claire Levy. "Popular Music in School A Point of View from Bulgaria." Journal of Popular Music Studies 9-10, no. 1 (September 1997): 65–69. http://dx.doi.org/10.1111/j.1533-1598.1997.tb00106.x.

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Yeats, Jeremy, and Mark Smith. "High School Volleyball Coaches Instructional Approaches and Perceptions to using Athlete Created Pre-competition Warm-up Music." Sport Science Review 20, no. 5-6 (December 1, 2011): 127–43. http://dx.doi.org/10.2478/v10237-011-0068-x.

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High School Volleyball Coaches Instructional Approaches and Perceptions to using Athlete Created Pre-competition Warm-up Music Research has shown psychological, psychophysical, and physical effects of music in sport (Bateman & Bale, 2009). However, music has received little attention among sport scholars. The purpose of this study was to examine high school varsity volleyball coaches' pedagogical assumptions and practices of allowing female high school volleyball teams to create and play their own pre-competition warm-up music. Eleven head coaches of female high school varsity volleyball teams who employed athlete created pre-competition warm-up music were interviewed (minimum 45 minutes). All interviews were transcribed then analyzed using open and axial coding (Corbin & Strauss, 2008). All 11 coaches believed that having athletes create and develop pre-competition music positively impacted athlete performance. Analysis further illustrated the coaches believed a connection exists between the use of music and athletic performance across three themes, increased motivation, mood, and team cohesion. Coaches interviewed in this study believed that music provided a consistent and inspirational routine. A limitation of this study is that actual performance was not measured, so future research is needed to examine the actual impact of music on athletic performance, as well as the impact of warm-up music in other sport settings.
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TANNER, JULIAN. "Pop music and peer groups: a study of Canadian high school students' responses to pop music*." Canadian Review of Sociology/Revue canadienne de sociologie 18, no. 1 (July 14, 2008): 1–13. http://dx.doi.org/10.1111/j.1755-618x.1981.tb01220.x.

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Law, Wing-Wah, and Wai-Chung Ho. "Values Education in Hong Kong School Music Education: A Sociological Critique." British Journal of Educational Studies 52, no. 1 (March 2004): 65–82. http://dx.doi.org/10.1111/j.1467-8527.2004.00255.x.

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Warnaby, John. "Dieter Schnebel and his ‘Sinfonie X’." Tempo, no. 186 (September 1993): 26–31. http://dx.doi.org/10.1017/s0040298200003077.

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The German composer Dieter Schnebel was born in March 1930, in Lahr, Baden. He began serious piano studies at the age of 10, and made his first attempts at composition around the end of the war, in his mid-teens. His principal music studies took place at the Musik Hochschule, Freiburg from 1949 to 1952; having encountered the music of Hindemith in 1949, he became aware of Bartók, Stravinsky and the Second Viennese School during the early 1950s, and studied at the Darmstadt Ferienkurse für Neue Musik, where he came into contact with Krenek, Varèse, Adorno, Henze, Nono and Boulez.
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NILSSON, STEFAN, EVA KOKINSKY, ULRICA NILSSON, BIRGITTA SIDENVALL, and KARIN ENSKÄR. "School-aged children’s experiences of postoperative music medicine on pain, distress, and anxiety." Pediatric Anesthesia 19, no. 12 (October 23, 2009): 1184–90. http://dx.doi.org/10.1111/j.1460-9592.2009.03180.x.

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Drever, John Levack. "Review: Steven Johnson (ed.), The New York School of Music and Visual Arts." Art Book 11, no. 4 (September 2004): 45–46. http://dx.doi.org/10.1111/j.1467-8357.2004.00477.x.

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10

Sargeant, Lynn M. "Singing the Nation into Being: Teaching Identity and Culture at the Turn of the Twentieth Century." History of Education Quarterly 49, no. 3 (August 2009): 291–322. http://dx.doi.org/10.1111/j.1748-5959.2009.00210.x.

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Although music has long had a place in the school, its position has often been precarious, relegated to odd hours and odd locations, and starved of both funds and attention. While at times music and the arts have enjoyed considerable support, these subjects are often the last ones added and the first ones cut from the curriculum. Yet, the arts have passionate advocates as well, including parents and pedagogues who support a holistic model of education that emphasizes humanistic values and aesthetics as well as utilitarian training. Still, music educators have struggled to justify their subject, often relying on extrinsic arguments to support its inclusion in the curriculum. Music, one is told, helps students raise their reading and math scores, improves their self-discipline, and builds community. Such arguments are rarely persuasive to voters concerned with eliminating expensive “frills” or to officials trying to balance tight budgets and raise test scores. Local newspapers bear witness to this struggle, as music and art programs fight to stay alive in American schools. This story, so potent today, has a long history. It dates back to the nineteenth century and the very birth of school music programs. It crosses continents, having as much currency in Europe as it does in North America. Debates over music in the schools are nothing less than debates over the meaning and purpose of education. Music is not one of the “three ‘R's.” Yet, precisely because of music's peripheral
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Dissertations / Theses on the topic "Pius X School of Music"

1

Foster, John J. M. "Diocesan commissions for liturgy, music, and art from Pius X to the 1983 Code of canon law an historical and canonical examination /." Theological Research Exchange Network (TREN), 1996. http://www.tren.com.

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Books on the topic "Pius X School of Music"

1

Carroll, Catherine A. A history of the Pius X School of Liturgical Music: 1916-1969. St. Louis, MO (4389 W. Pine Blvd., St. Louis 63108): Society of the Sacred Heart, 1989.

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2

O'Leary, H. Inspection report on the denominational education at St Pius X RC Primary School, Bristol in the Diocese of Clifton. Bristol: St Pius X RC Primary School, 1998.

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Campbell, Mark Robin, and Linda K. Thompson. Analyzing influences: Research on decision making and the curriculum. Charlotte: IAP - Information Age Publishing, Inc., 2015.

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4

Hansen, Jim. Fifty Years of Thunderbolt Tradition: An Athletic History of Pius X High School. iUniverse, Inc., 2006.

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Hansen, Jim. Fifty Years of Thunderbolt Tradition: An Athletic History of Pius X High School. iUniverse, Inc., 2006.

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Follow-up to the Inspection of St Pius X RC Primary School, Tayside Regional Council. The Stationery Office Books (Agencies), 1996.

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7

Palk, Jonathan. St Pius X RC Primary School inspection report: LEA area:City of Bristol, Headteacher:Mr Brian Howell : reporting inspector:Mr Jonathan Palk, dates of inspection:5th-8th October 1998. Ofsted, 1998.

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Designs, Shae-Athena. Guitar Tab Book: American Football Print and Quotes, 6 X 9 , 116 Pages, Music Novelty Gift for Boys, Teens, Adults, Students, School. Independently Published, 2020.

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9

Regensburg, Bischöfliche Zentralbibliothek, and Catholic Church. Pope (1903-1914 : Pius X)., eds. Das Motuproprio Pius X. zur Kirchenmusik "Tra le sollecitudini dell'officio pastorale" (1903) und die Regensburger Tradition: Katalog zur Ausstellung in der Bischöflichen Zentralbibliothek Regensburg, St. Petersweg 11-13, 10. November bis 23. Dezember 2003. Regensburg: Schnell & Steiner, 2003.

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Publishing, Gallon Gallon. Primary Composition Notebook: 150 Pages 8. 5 X 11 Music Art Yellow Cover, Dotted Midline and Picture Space, School Exercise Book for Kids. Independently Published, 2020.

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Book chapters on the topic "Pius X School of Music"

1

Baum, Liam. "Mouse Theremin with p5.js (Intermediate)." In The Music Technology Cookbook, 373–80. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.003.0057.

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This project was designed for middle- and high-school students who have a basic introduction to text-based coding languages. The basic part of this lesson can be done with little to no prior coding experience; however, there is a lot of opportunity for variation and extensions where understanding some basic coding concepts can be useful. In this project, students will create a simple sketch using the p5.js programming language to code a basic theremin that changes pitch and volume by moving the mouse around the screen. Learning outcomes include becoming familiar with: 1) coding concepts such as syntax, loops, declaring variables, and mapping values, 2) basic graphics—Pixels, X and Y axis, and c) sound synthesis concepts such as oscillators, frequency, hertz, and amplitude.
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Conference papers on the topic "Pius X School of Music"

1

Daliņa, Dace, and Vēsma Ozoliņa. "Problems of Group Management in Preschool Music Lessons and Possible Solutions." In 78th International Scientific Conference of University of Latvia. University of Latvia, 2020. http://dx.doi.org/10.22364/htqe.2020.15.

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The research was implemented within the framework of the University of Latvia master’s study program “Pedagogy” course “Effective classroom management”. During the action research, the researchers identified group management problems in music lessons at educational institution X, in group Y. Key problem identified was the insufficient attention of children at the beginning of the lesson. The research proceeded to also look for possible solutions. The aim is to analyse current methods of delivering effective music classes in a pre-school setting, and propose and validate new strategies to improve the beginning of a music lesson. The study involved 17 preschool children (11 boys and 6 girls), a music teacher, and two group teachers, and an observer. The study was conducted from October 2019 to March 2020. The first results of the action research show that as the teacher changed her classroom activities, introduced certain group management techniques, such as signalling and acoustic counting, and repeating these as a routine activity in each lesson, children’s attention improved significantly at the beginning of the music lesson and became more sustained.
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