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Dissertations / Theses on the topic 'Redfield Conservatory of Music'
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1
Murali, Meera. "Conservatory of Music and Dance." Thesis, Virginia Tech, 2015. http://hdl.handle.net/10919/64379.
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Like Art, Architecture has the potential to impact people. Art is often considered the process of consciously arranging elements in a way that appeals to the senses or emotions. Architecture can also be described similarly. However, the key difference between Art and Architecture is that while Art is pure personal expression, Architecture carries with it a certain accountability towards its immediate context and inhabitants. While a painting begins and ends on a canvas, Architecture cannot stop at a whim; it must transform from imagination to tangible reality.
This process brings with it, a set of constraints imposed by structural, climatic, socio-economic aspects, construction methodologies and material properties, amongst others. These constraints call for fine-tuning of the design. The sophistication and elegance used to handle these constraints differentiate a "building" that poses as a mere visual sculpture in isolation, from "architecture" that evolves as a response to its context and people.
Matthew Frederick (2007) says, "being genuinely creative requires something different from conventional, authoritarian control; a loose velvet tether". The "velvet tether" possibly represents the constraints that need to be navigated through, during the realization of the project. The central focus of this thesis is to explore how to address some of those constraints, through the design of a school campus for students of music and dance. The program includes practice, rehearsal and classroom spaces for music and dance, administrative spaces and a library. Themes explored as part of the design development process include architectural form, materiality and detailing.Master of Architecture
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Shipp, Sarah. "The Well Tempered Building; A Music Conservatory." Thesis, Virginia Tech, 2004. http://hdl.handle.net/10919/35192.
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To Bach, the Circle of Fifths was the language of the universe. Similar to the constellations used to understand the sky, the Circle of Fifths is a visualization device to understand the fundamental concepts of key signatures, which are the foundation for music. The Circle of Fifths is a guide for writing music because its structure helps compose and harmonize melodies, build chords, and move to different keys within a composition.
The Octave is the most significant key signature because it completes the circle of fifths. The Octave, if in perfect tune will create an overtone, which is a tune unable to be created on its own. The movement through the Circle of Fifths led to a contemplation described by Pythagoras as â Music of the Spheresâ or meeting between heaven and earth, between spiritual and material realms.
The Well Tempered Building uses the Circle of Fifths as the underlying geometry for the foundation of the conservatory. Proportions from the Circle of Fifths, including the Octave, shaped the conservatory making the musicians, audience, sound, light, water and air tuned to each other.Master of Architecture
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Mann, Evan Steele. "Civic Sounds; A Music Conservatory for D.C." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/9621.
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"If it sounds good, it is good." - Duke Ellington
"Like music, a work acquires its value only through the love it manifests." - Eileen Gray
"...but in the mud and scum of things
There alway, alway something sings." - R.W. EmersonMaster of Architecture
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Benavides, Millán Juan Gabriel. "Music on the edge an addition to the Music Conservatory of Tolima, Colombia /." College Park, Maryland : University of Maryland, 2005. http://hdl.handle.net/1903/2619.
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Thesis (M. Arch.) -- University of Maryland, College Park, 2005.Thesis research directed by: Architecture. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.
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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Vander, Hart Robert Jay. "A history of the Conservatory of Music at Central College (Pella, Iowa), 1900-1930." Thesis, University of Iowa, 1998. https://ir.uiowa.edu/etd/5384.
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Stuecker, Rebecca Marie. "Discover. Reveal. Educate.: Making a School for Bluegrass Music in Floyd, Virginia." Thesis, Virginia Tech, 2006. http://hdl.handle.net/10919/33857.
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Architecture can facilitate the learning process. This book outlines a design exploration of this fundamental premise. The architectural platform for this exploration is a music conservatory dedicated to teaching the traditional mountain music of Appalachia. The rich history of mountain music and its centuries-old conversational method of conveyance remain the underlying premise of this thesis.
A successful bluegrass conservatory must provide places for its students to engage in three occasions: Discovery, Revelation, and Education. Architectural form is significant to these occasions in that it not only allows, but promotes their occurrence. The discovery of inspirational material can occur in a formal stage-and-seat configuration as in the auditorium, or in an informal environment such as the street. The moment in which a musician reveals or explores this inspirational material can be a private one, most likely to take place in the individual rooms of the residential buildings. The most important occasion, education, takes place as it has for centuries - within conversation. Learning the language of bluegrass music is most likely when two or more students sit together to play, share their knowledge, and build on it. These conversations are key to the learning process and can take place on the benches lining the streets, in the indoor gathering rooms, on balconies and porches overlooking the streets, etc. The discovery, revelational, and educational processes are not chronological and must all happen coincidentally within the school grounds.
I have set out to build an architectural language whose meaning is derived by conventional pragmatic parameters. This system of rules or notions governs all aspects of this schoolâ s design from stair to stage. The parameters are set according to the intrinsic requirements of placing a building on the land that must promote the occurrence of discovery, revelation, and education.Master of Architecture
8
Malitowski, Cynthia Marie, and University of Lethbridge Faculty of Education. "The journey from instrumentalist to musician : reflections on the implementation of the conservatory method in musical performance." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 2001, 2001. http://hdl.handle.net/10133/134.
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The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, it what defined her a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodolgies, the author identified four common themes for comparison: rhythm, pitch, recognition, patterning of sounds, and literacy. Through the discourse the author bridges the gap between the instrumentalist and the musician by comparing the methodology of these music educators and that of the conservatory through her own experiences.viii, 108 leaves ; 28 cm.
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Hardin, Gary Joe II. "IN THE DIVISION OF COMPOSITION, MUSICOLOGY, AND THEORY OF THE COLLEGE-CONSERVATORY OF MUSIC." University of Cincinnati / OhioLINK, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=ucin960900004.
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Xiong, Jie. "A study of the undergraduate students' professional identity at the Central Conservatory of Music." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/838.
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Meiggs, Baldeon Enrique Javier. "Nueva sede para la Universidad Nacional de Música (Ex Conservatorio de Música) en San Borja." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652395.
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En el Perú existe una falta de difusión cultural y debido a esto muchas carreras artísticas como la música no tienen el valor que se merece, esta despreocupación ha llevado a que la única casa nacional de educación superior de música se encuentre en un estado lamentable con respecto a su infraestructura.
Con este proyecto se busca satisfacer las necesidades educacionales para aquellos interesados en algunas de las 25 especialidades que ofrece La Universidad Nacional de Música (ex conservatorio) y teniendo en cuenta las especificaciones técnicas de los ambientes a desarrollar.
El partido arquitectónico busca una relación confortable entre el usuario con el objeto arquitectónico a través del recorrido y estancia.
La nueva sede de La universidad Nacional de Música busca brindar una infraestructura adecuada a todos los estudiantes.In Peru there is a lack of cultural diffusion and because of this many artistic careers, as music does not have the value it deserves, this lack of concern has led to the only national house of higher music education being in a sorry state with Regarding your infrastructure. This project seeks to meet the educational needs for those interested in some of the 25 specialties offered by the National University of Music (former conservatory) and taking into account the technical specifications of the environments to be developed. The architectural party seeks a comfortable relationship between the user and the architectural object through the route and stay. The new headquarters of the National University of Music seeks to provide adequate infrastructure to all students.
Trabajo de investigación
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Stern, Judith. "Evaluation of a yoga intervention for music performance anxiety in conservatory students: a pilot study." Thesis, Boston University, 2012. https://hdl.handle.net/2144/31607.
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Thesis (Ph.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
Objective: This study examined the potential benefits of a 9-week yoga practice on music performance anxiety (MPA) and mood in undergraduate and graduate music conservatory students, including vocalists and instrumentalists. Previous studies using elite musicians showed improvements in both variables. The current study used a less intensive yoga program more likely to be within the reach of the average music student. Methods: The program consisted of fourteen 60-minute classes approximately twice a week, plus shorter home practice. Assessments were administered at baseline, posttreatment, and long-term follow-up 7-14 months later. Measures included two self-report questionnaires assessing MPA (Performance Anxiety Questionnaire, PAQ, and Kenny Music Performance Anxiety Inventory, K-MPAI), and questionnaires assessing trait anxiety and mood. Heart rate and respiratory sinus arrhythmia (RSA) were measured at baseline and posttreatment. Of the 24 students enrolled in the study, 17 participants attended both the baseline and posttreatment assessments. Nine of these participants returned follow up questionnaires. Results: Completer analyses, including only participants who completed the measure at both baseline and posttreatment, and intent-to-treat last observation carried forward analyses were performed. Participants showed significant decreases in MPA from baseline to posttreatment as measured by the K-MPAI and the PAQ solo performance subscale with large effect sizes for completers, and medium-to-large effect sizes using the ITT analysis. PAQ scores for group performance situations showed a significant decrease before, but not after, correcting for multiple comparisons. PAQ scores for music practice situations did not decrease significantly. Exploratory analysis revealed that participants' trait anxiety scores decreased significantly from baseline to posttreatment, with a large effect size for completers. Improvements were sustained at long-term follow-up. No significant treatment effects were detected for mood states, heart rate, or RSA. Participants reported finding the intervention both enjoyable and beneficial. Conclusions: Yoga, a holistic mind-body practice with cognitive and somatic elements, is a promising intervention for MPA in conservatory students. The results of this uncontrolled study warrant larger, randomized controlled studies on the impact of yoga on MPA.
2031-01-01
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Lynn, Margaret Mun-yau. "From the Conservatory to the workplace : understanding the music graduate's early career experience in Hong Kong." Thesis, University of Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424600.
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Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
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Michelsen, Catherine Bingman. "Julius Eichberg (1824-1893): Composer and String Pedagogue." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/323447.
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This document examines the life and string pedagogical contributions of German-American violinist, composer, and pedagogue Julius Eichberg (1824-1893). Biographical information about Eichberg is presented to demonstrate his expertise in the areas of education and performance, as well as to provide some context for his compositions. As little has been written about Eichberg and his contributions to music and music education, much of the information gathered about his life and musical background was found in primary sources in the form of scrapbooks compiled by Eichberg and his daughter. These scrapbooks are housed in the Special Collections at the Boston Public Library. Three of Eichberg's intermediate-level chamber works were selected for the dual purposes of examining their pedagogical worth and editing and clarifying the fingerings and bowings for use by current string students. The American String Teachers' Association Certificate Advancement Program guidelines and the Christina Placilla/Kenneth Law String Quartet grading guidelines were used in conjunction with one another to determine the appropriate placement of the three selected Eichberg works in the extant chamber repertoire. The document includes both facsimiles of the original works transferred from microfilm and the newly edited parts.
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Bou, Jimmarie. "The making of a public institutional building : a design for the new conservatory of music of Puerto Rico." Thesis, Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/23990.
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HAYASE, TAKAKO. "A COMPARISON OF AKIRA MIYOSHI'S MIYOSHI PIANO METHOD WITH NANCY AND RANDALL FABER'S PIANO ADVENTURES BASED ON ROYAL AMERICAN CONSERVATORY EXAMINATION (RACE)." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1156562709.
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Vassillière, Christa Theresa. "The Spatial Properties of Music Perception: Differences in Visuo-spatial Performance According to Musicianship and Interference of Musical Structure." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1340331749.
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Underwood, John Christopher. "A Study of Performance Practice for Three Morceaux de Concours for Trumpet from the Paris Conservatory| Charlier Solo de Concours (1900), Savard Morceau de Concours (1903), Enesco Legende (1906) Lecture Recital." Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10248757.
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The purpose of this study was to address performance practice, and develop a systematic approach to the preparation of three pieces composed for the Morceaux de Concours at the Paris Conservatory. The pieces were written by former students of the conservatory. Each composition features distinct musical and technical challenges for the trumpet. Solo de Concours written by Theo Charlier requires the performer to play musically in a variety of ranges, dynamics, and articulations. For this work, exercises were composed to address these demands. Morceau de Concours by Augustin Savard is technically less challenging but requires mastery of phrasing and lip flexibility. Finally, Legend requires the most preparation out of the three works examined. The composition requires a performer to have established solid trumpet fundamentals. For this piece, dynamic exercises, a chromatic etude and multiple tonguing exercises were developed to equip the trumpeter with the skills needed to excel in the performance of these works.
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Vendrami, Georgeana Lanzini. "CONSERVATÓRIO DE MÚSICA DE PONTA GROSSA: (RE) PRODUÇÃO CULTURAL E DISTINÇÃO SOCIAL (1971-1995)." UNIVERSIDADE ESTADUAL DE PONTA GROSSA, 2010. http://tede2.uepg.br/jspui/handle/prefix/1308.
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Previous issue date: 2010-12-10This dissertation analyses the cultural and educational project represented by the Maestro Paulino Martins Alves Musical and Dramatic Conservatory (CDM) in the period between 1971 and 1995, focusing on aspects related to the foundation of this institution and on the social (intellectual) agents responsible for it. The analysis draws on Cultural History authors in order to put into discussion the written and oral sources of the documentary corpus that, associated to the history of music teaching in Brazilian and European conservatories and to discussions on the nature of the educational process of such institutions, is used to econstruct both the institutional history of the CDM and the music education experiences carried out within this cultural space. In the light of considerations by Pierre Bourdieu related to art history and cultural/symbolic struggles present in society, it is possible to affirm that the groups that worked at the CDM established a view of art, music and music education that induced a disposition or aesthetic habitus amongst those who consumed such cultural goods. Furthermore, such groups used this symbolic capital as a strategy to be recognised as a distinguished social stratum in the city of Ponta Grossa.
Esta dissertação analisa o projeto cultural e educacional do Conservatório Dramático Musical Maestro Paulino Martins Alves (CDM) no período circunscrito entre 1971 e 1995, enfatizando os aspectos que determinaram o processo de sua fundação, bem como os agentes sociais (intelectuais) que o organizaram. Apoia-se nos autores da História Cultural para problematizar as fontes escritas e orais que compõem o corpus documental que, associado à história do ensino de música nos conservatórios europeus e brasileiros e às discussões sobre a natureza do processo educativo dessas instituições, é utilizado para a reconstituição da história institucional do CDM e das experiências de educação musical empreendidas nesse espaço cultural. À luz das considerações de Pierre Bourdieu relacionadas à história da arte e às lutas culturais/simbólicas presentes na sociedade, é possível afirmar que os grupos que atuaram no CDM estabeleceram uma visão de arte, de música e de educação musical que conformou uma disposição ou um habitus estético entre aqueles que consumiam tais bens culturais, assim como usaram esses capitais simbólicos como estratégia para serem reconhecidos como distintos entre os outros estratos sociais de Ponta Grossa.
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McLaren, Malena Rachel. "Miguel Yuste his works for clarinet and his influence on the Spanish clarinet school of playing in the twentieth century, a lecture recital, together with three recitals of selected works by Bax, Mason, Khachaturian, Chausson, Bozza, Beethoven, and others /." Thesis, connect to online resource, 2005. http://www.unt.edu/etd/all/May2005/Open/mclaren%5Fmalena%5Frachel/index.htm.
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Thesis (D.M.A.)--University of North Texas, 2005.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded Mar. 5, 2001, Nov. 20, 2001, Nov. 25, 2002, and Mar. 28, 2005. Includes bibliographical references (p. 53-55).
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Mendes, Diogo António Tavares Magro. "Relatório de prática de ensino supervisionada realizada na Escola Artística de Música do Conservatório Nacional: a música contemporânea no ensino do clarinete em Portugal." Master's thesis, Universidade de Évora, 2018. http://hdl.handle.net/10174/23921.
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O objeto de estudo do presente trabalho é a abordagem à música contemporânea
nos cursos oficiais de clarinete em Portugal. Este trabalho pretende estudar a
abordagem da música contemporânea no ensino do clarinete em Portugal e o possível
impacto que esta poderá ter desenvolvimento dos músicos e na sua profissão. Como
metodologia, foi realizada uma pesquisa bibliográfica sobre o tema, uma recolha de
programas do curso de clarinete e um questionário.
O relatório encontra-se organizado em duas partes distintas, sendo a primeira
referente à prática de ensino supervisionada realizada na Escola Artística de Música
do Conservatório Nacional com o orientador cooperante Luís Gomes, e a segunda, à
investigação sobre o tema anteriormente referido.
A análise dos programas e dos dados recolhidos apontam para uma importante
lacuna no que diz respeito à abordagem de obras contemporâneas no ensino do
clarinete em Portugal, facto esse que tem um impacto negativo na atividade dos
instrumentistas; Abstract: Supervised Teaching Report held at Escola
Artística de Música do Conservatório Nacional:
Contemporary Music in the teaching of the clarinet in
Portugal
The object of study in the presente work is the approach to contemporary music in
the offical clarinete courses in Portugal. This work intends to study the impact of that
approach in the learning process has in the development of the musicians and their
profession.
This report is organized in two distinct parts, the first one referring to the
supervised teaching practise held at the Escola Artística de Música do Conservatório
Nacional with the cooperating advisor Luís Gomes, and the second, to the research on
the subject previously mentioned.
The analysis of the programs and data collected points to an importante gap
regarding the approach of contemporary works in the teaching of clarinet in Portugal,
which has a negative impact in the activity of the performers.
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Penny, Lori Lynn. "Mind the Gap: An Integration of Art and Science in Music Theory Pedagogy." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42032.
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My inquiry, centered on the applied practice of teaching, confronts the detachment that often disassociates the intellectual study of music theory from the physical experience of music. This pedagogical detachment, perceived as a split between opposing views of knowledge, privileges positivist science over interpretive art (Aróstegui, 2003), producing written competencies that have little or no musical meaning (Rogers, 2004). Endeavouring to re-attach music theory and the music it was initially intended to explain (Dirié, 2014), I constructed four Listening Guides to align with the intermediate-level theory curriculum of the Royal Conservatory of Music. Their construction incorporates elements of design research along with an underlying framework derived from the Kodály Method’s four-step instructional process. Given my multi-faceted personal/professional interactions with music theory, my research project is presented in the form of a quest narrative that weaves together my story and the stories of participant teachers who established the Listening Guides’ potential usefulness through reviewing and implementing interactions. This narrative, as a creative representation of arts-based research practices (Leavy, 2015), is derived from the blurring of specific cognitive findings and less definable aesthetic knowings (Greenwood, 2012). My data, both the prototypical data I designed and the empirical data I collected from focus group discussions with my participants, are filtered through an a/r/tographic lens that acknowledges the coexistence of my artist/researcher/teacher identities. The analysis of our aggregate narrative, as an exploration of music theory pedagogy with, about, in, and through music, relies on the evaluative tools of educational criticism (Eisner, 1991). Unfolding in a mostly linear climb, my quest for a fully integrated music/theory (art/science) pedagogy reaches its apex in the understanding that a music-logic organization confounds the subject-logic of traditional teaching approaches. Thus, my inquiry challenges the customary practices of scientific knowledge-building with a model for artistic “ways-of-knowing” in music theory pedagogy.
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Atallah, Gianne Zanella. "Trajetórias musicais de alunas e professoras do Conservatório de Música de Rio Grande." Universidade Federal de Pelotas, 2011. http://repositorio.ufpel.edu.br/handle/ri/2824.
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O trabalho de pesquisa, intitulado Trajetórias Musicais de Alunas e Professoras do Conservatório de Música de Rio Grande que aqui será apresentado, buscou identificar as formas de representação das mulheres musicistas, a partir das memórias dos alunos e professoras do Conservatório de Música de Rio Grande. Tomou-se como recorte temporal do trabalho a década de 1940 até a primeira metade de 1950, tendo em vista o período de atuação das mulheres entrevistadas dentro do Conservatório de Música de Rio Grande. A partir das entrevistas orais, buscou-se identificar as influências familiares, a motivação para o estudo da música, a construção da carreira profissional e a dicotomia entre o ser concertista e o ser professora. Para melhor compreender o contexto social do período, abordaremos o contexto histórico e musical brasileiro entre os séculos XIX e XX, tendo como marco temporal a Proclamação da República até o final da primeira metade do século XX. Neste contexto, enfocaremos aspectos do pensamento positivista, que foram determinantes para o modelo de conduta estabelecido para a mulher no que tange especialmente ao processo de ensino-aprendizagem musical. A partir do contexto da cidade de Rio Grande, dirigimos nosso olhar para o Conservatório de Música de Rio Grande, enfocando sua trajetória e a presença feminina no acervo documental. Trabalharemos com os conceitos de gênero, representação e poder simbólico para compreendermos os diferentes papéis sociais femininos dentro da música, nos meios geradores aqui identificados como família, trabalho e carreira musical. A partir dos relatos orais, buscou-se compreender a vivência musical além do documento, trazendo memórias de sete mulheres que atuaram como professoras, diletantes e artistas. Além de perceber a representação direta que possuem cada um destes papéis, identificamos o processo de conquista do espaço musical pelas mulheres, configurando o Conservatório de Música como importante espaço de atuação feminina na esfera pública.
The research work, titled musical Trajectories Schoolgirls and Women of the Music Conservatory of Rio Grande that here will be presented, sought to identify the forms of representation of women musicians, from the memories of the students and teachers of the Music Conservatory of Rio Grande. He took up work as temporal clipping the 1940s until the first half of 1950, for the period of operation of the women interviewed inside the Music Conservatory of Rio Grande. From oral interviews, sought to identify the family influences, the motivation for the study of music, the construction of the professional career and the dichotomy between concert and be a teacher. To better understand the social context of the period, we will cover the Brazilian musical and historical context between the 19th and 20th centuries, with the timeframe the proclamation of the Republic until the end of the first half of the 20th century. In this context, shadow aspects of positivist thought, which were instrumental to the model of conduct established for women in especially the teaching-learning process. From the context of the Rio Grande, drove our look at the Music Conservatory of Rio Grande, focusing on its trajectory and the female presence in documentary collection. We will work with the concepts of gender, representation and symbolic power to understand the different female social roles within the music, media generators here identified as family, work and career. From oral reports, sought to understand the musical experience in addition to the document, bringing memories of seven women who acted as teachers, amateurish and artists. In addition to realize direct representation with each of these roles, we identified the process of conquest of space music by women, setting up Conservatory of music as an important area of activity of women in the public sphere.
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Vendrami, Georgeana Lanzini. "Conservatório Maestro Paulino (1971-2014) no contexto da formação do campo cultural em Ponta Grossa (PR): possibilidades e limites de promoção da cultura musical como elemento de humanização." UNIVERSIDADE ESTADUAL DE PONTA GROSSA, 2015. http://tede2.uepg.br/jspui/handle/prefix/1179.
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Previous issue date: 2015-03-24This study analyzes political and social-historical determinations that characterize Maestro Paulino Martins Alves Conservatory (CMP) in Ponta Grossa, Parana, from 1971 to 2014. The objectives of the research were: 1) understand the nature and the educational and cultural dimension of the CMP from the empirical particularities that characterize its internal movement and its external intervenients; 2) problematize the possibilities and limits of the CMP in giving access to musical culture as an element of humanization of senses of the population who attends there, having in mind the molds of its genesis, from its development and its concretion in the city of Ponta Grossa living. The arguments of this thesis is mainly based on Marx‟s theorical and methodological principles, especially in the ontological dimension of the esthetic and social thinking developed by Marx and Engels that recognize the art as one of the ways of object of the social being. According to this perspective, arguments formulated by Lukács about the art are taken into account, the process of the constitution of the man in its whole and its role in the human emancipation. This research involved relative theoretical studies on the literature review and its documental analysis and empirical studies through interviews and questionnaires aimed to candidates, students, applicants, teachers and directors of the CMP, public administrators of the culture and cultural agents from the city of Ponta Grossa, and they were analyzed from a qualitative approach. The results of the research allow us to say that, regardless all limitations on material, political and human behalf on the CMP as a public institution of musical teaching, the educational process developed promotes a resizing of the conceptions, expectations, objectives and knowledge about music, art and culture of the students who were there, which contributes to the legitimation of a different social position in relation to the development of the human senses of the amount of people from Ponta Grossa who attends this place.
Este estudo analisa as determinações políticas e sócio-históricas que caracterizaram o Conservatório Maestro Paulino Martins Alves (CMP) de Ponta Grossa, Paraná, durante o período compreendido entre os anos 1971 e 2014. Os objetivos da pesquisa foram: 1) compreender a natureza e a dimensão educacional e cultural do CMP a partir das evidências empíricas do seu movimento interno e dos seus intervenientes externos; 2) problematizar as possibilidades e limites do CMP na promoção do acesso à cultura musical como elemento de humanização dos sentidos à população que o frequenta, tendo em vista os moldes da sua gênese, do seu desenvolvimento e da sua concreção na realidade ponta-grossense. A argumentação da tese sustenta-se prioritariamente nos fundamentos teórico-metodológicos marxistas, especialmente na dimensão ontológica do pensamento estético e social desenvolvido por Marx e Engels que reconhece a arte como uma das formas de objetivação do ser social. Em consonância a essa perspectiva, são consideradas as argumentações formuladas por Lukács sobre a arte, o processo de constituição do homem em sua generidade e seu papel na emancipação humana. A pesquisa envolveu estudos teóricos relativos à revisão de literatura e à análise documental e estudos empíricos por meio de entrevistas e questionários dirigidos a candidatos, alunos, egressos, professores e diretores do CMP, gestores públicos da cultura e agentes culturais da cidade de Ponta Grossa, analisados a partir de uma abordagem qualitativa. Os resultados da pesquisa permitem afirmar que, não obstante todas as limitações de ordem material, política e humana que incidem no CMP como instituição pública de ensino musical, o processo educativo desenvolvido promove um redimensionamento das concepções, expectativas, objetivos e conhecimentos sobre música, arte e cultura dos alunos que o acessaram, o qual colabora tanto para a legitimação de um posicionamento social distinto quanto para o desenvolvimento dos sentidos humanos da parcela da população de Ponta Grossa que o acessa.
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Teruya, Taira Carlos Alberto. "La nueva sede del Conservatorio Nacional de Música." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657255.
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La nueva sede del Conservatorio Nacional de Música, institución de Educación Superior Pública que en la actualidad es la Universidad Nacional de Música, es un proyecto que propone unificar las 3 sedes existentes y, consolidar 5 pilares fundamentales: La importancia de la educación, la cultura, el patrimonio, el usuario y la arquitectura. Como énfasis arquitectónico se propone “el encuentro entre personas como clave para generar conocimiento”. Basados en los espacios intermedios, estos permiten que sucedan el encuentro, las buenas conversaciones y la generación de conocimiento. El proyecto ubicado en el distrito de Cercado de Lima, Provincia de Lima, Departamento de Lima; mantiene el Centro Histórico de Lima como su escenario desde su nacimiento en 1927The new headquarters of the National Conservatory of Music, an institution of Public Higher Education that is currently the National University of Music, is a project that proposes to unify 3 existing headquarters and consolidate 5 fundamental pillars: The importance of education, culture, heritage, user and architecture. As an architectural emphasis, "the encounter between people as the key to generating knowledge" is proposed. Based on the intermediate spaces, they allow encounters, good conversations and the generation of knowledge to take place. The project located in the district of Cercado de Lima, Province of Lima, Department of Lima; maintains the Historic Center of Lima as a setting since its birth in 1927.
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Loayza, Jiménez Mathiuz. "Nueva sede del Conservatorio Nacional de Música." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657366.
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El presente proyecto desarrolla la propuesta arquitectónica para la Nueva Sede del Conservatorio Nacional de Música, a través de una investigación descriptiva y proyectiva, que permita una visión general en respuesta a las necesidades y proyección de crecimiento de las sedes del actual Conservatorio Nacional de Música. Para ello se ha tenido en cuenta diferentes aspectos según del usuario, como la necesidad de mayores espacios, aumentar la capacidad de alumnado y satisfacer la futura demanda. El proyecto se encuentra ubicado en distrito de Pueblo Libre, en el cruce de la avenida Universitaria con la avenida Mariano H. Cornejo. Será parte del proceso de descentralización de las actividades culturales, teniendo cercanía con distritos con déficit de equipamiento cultural y reforzando el eje de equipamiento educativo. El proyecto arquitectónico plantea los ambientes necesarios para el desarrollo de las actividades del conservatorio, así como diversos espacios de presentaciones con diferentes capacidades de visitantes. Además, propone espacios comerciales complementarios al proyecto.The project develops the architectural proposal for the New Campus of the National Conservatory of Music, through a descriptive and projective research, which allows a general vision in response to the needs and projection of growth of the campus of the current National Conservatory of Music. For this, different aspects have been taken into account depending on the user, such as the need for larger spaces, increasing the capacity of students and meeting future demand. The project is located in the Pueblo Libre district, in the city of Lima, the capital of Peru. Is at the crossroad of Universitaria avenue and Mariano H. Cornejo avenue. It will become part of the process of decentralization of cultural activities, having proximity to districts with a deficit of cultural equipment and reinforcing an axis of educational equipment. The architectural project proposes the necessary environments for the development of the activities of the conservatory, as well as various presentation spaces with different visitor capacities. In addition, it proposes commercial spaces complementary to the project.
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BIANCHI, KORNER ALESSANDRA. "L'INSEGNAMENTO DELL'ITALIANO A CANTANTI D'OPERA INTERNAZIONALI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6167.
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L’elaborato indaga le modalità di insegnamento della lingua e della dizione italiana ai cantanti d’opera internazionali. Dopo una breve cronistoria dell’opera lirica, si analizza la figura del librettista e in particolare di Lorenzo Da Ponte, insegnante ante litteram della lingua e della cultura italiana. Segue una disamina dei corsi di canto degli albori, dalla quale emerge quanto il problema di una corretta pronuncia fosse cruciale nell’educazione dei cantanti già nel Settecento.
Si indagano le metodologie di insegnamento della fonetica e della prosodia nella storia della glottodidattica, i fattori biologici e psico-sociali determinanti nell’apprendimento di una L2/LS e le principali difficoltà linguistiche incontrate dai discenti stranieri che si accingono ad apprendere la lingua italiana.
Si presentano i dati di una ricerca condotta su dieci istituzioni musicali tra i quali il Conservatorio di Milano, la Juilliard School of Music di New York e la Washington State University di Seattle. Si analizzano le metodologie di insegnamento e i manuali adottati e si espongono i dati emersi da un questionario rivolto ai docenti e ai discenti delle suddette scuole.
Si procede esponendo un sillabo ideato per i cantanti che permetta uno studio più proficuo della lingua e della dizione italiana.The research investigates the teaching procedures of Italian language and diction to international opera singers. After a brief digression on the lyric opera, we analyze the figure of librettista and in particular of Lorenzo Da Ponte, a forerunner of the Italian language and culture teaching. An examination of the first singing courses shows how teaching a impeccable pronunciation was already crucial in the XVIII century. The phonetics and prosody teaching procedures in the history of glottodidactics are then examined, as well as the biological and psycho-social factors critical while learning a foreign language and the main linguistic difficulties faced by foreign students approaching the Italian language. We present the data of a survey conducted on ten musical institutions like the Milan Conservatory, the Julliard School of Music of New York and the Washington State University of Seattle. We analyze the teaching procedures and the textbooks adopted and the results of a questionnaire addressed to the teachers and students of these schools. Finally we display a syllabus for international opera singers to profitably approach the Italian language.
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Kunz, Stephanie Jane. "Gustave Vogt: Performer, Educator and ComposerToward an Edition of his works for Oboe and English horn." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429624795.
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周游. "澳門教育政策下的中等專業音樂教育 : 以澳門演藝學院音樂學校為例." Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2178424.
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Oliveira, Livia Roberta. "Práticas musicais constituídas pelos alunos nos espaços/tempos livres no/do Conservatório Estadual de Música de Ituiutaba-MG." Universidade Federal de Uberlândia, 2015. https://repositorio.ufu.br/handle/123456789/18903.
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A presente pesquisa tem como objetivo compreender como se constituem as práticas musicais realizadas fora da aula de música, nos espaços/tempos do/no Conservatório Estadual de Música "Dr. José Zóccoli de Andrade” de Ituiutaba-MG. O aluno desse Conservatório é visto como um ser social, tecido por inúmeras características ligadas ao seu contexto sociocultural, e que têm relação direta com suas práticas musicais nessa escola de música. A partir de um olhar ligado às teorias do cotidiano, pretendeu-se também compreender quais eram essas práticas musicais, como aconteciam e se organizavam nos espaços/tempos em que os alunos estavam no Conservatório, mas, fora da aula de música, em espaços/tempos como corredores, pátio, hall e, até mesmo, na própria sala de aula, horários vagos, recreios, horários burlados, entre outros. O olhar teórico dirigido para essas práticas está fundamentado em alguns conceitos das teorias do cotidiano, sobretudo na perspectiva de Pais (2003); da música e da educação musical como prática social, na visão de Souza (2000, 2004, 2009); nas ideias de Brougère (2012) sobre aprendizagem no cotidiano; e nos conceitos de espaços/tempos, de Lindón (2000). Em uma abordagem qualitativa, o estudo de caso foi o método adotado nesta pesquisa, e os procedimentos de coleta de dados foram observações e entrevistas com alunos. Como conclusão, os alunos se organizam de diferentes formas para realizarem essas práticas musicais, algumas delas de forma prevista e outras não previstas, de formas individuais e/ou compartilhadas, e subsidiadas pela execução e escuta musical. As práticas musicais realizadas nos espaços/tempos livres da aula de música são ações importantes no contexto diversificado dessa escola de música, e que contribui para o entendimento dos processos de ensino/aprendizagem musical nesse Conservatório.The present research aims at understanding how the musical practices are carried out outside music classes in the space/time in the State Conservatory of Music "Dr. José Zôccoli de Andrade" of Ituiutaba-MG. The student of this Conservatory are seen as social beings made of numerous characteristics due to their socio-cultural context, which is directly related to their musical practices in the school of music. From the point of view related everyday life theories, it was intended to also understand what those musical practices were and how they used to happen and to be organized in space/time when students are at the Conservatory but out of music class in space/time like hallways, patio, hall and even the classroom itself, free time between classes, at the unofficial break time, among others. The theoretical view directed to these practices is based on some concepts of theories of everyday life from the perspective of Pais (2003), of music education as social practice in the vision of Souza (2000, 2004, 2009), the ideas of Brougère (2012) about learning in daily life, and in the concepts of space/time of Lindôn (2000). In a qualitative approach, the case study was the method adopted in this research, and data collection procedures were observations and interviews with students. It is concluded that the students are organized in different ways to perform these musical practices, some of them expected and not expected, individual or/and shared ways and grounded on performances and musical listening. The musical practices carried out in the space/free time music class are important actions in the context of this diversified School of music, and that contributes to the understanding of the teaching/learning processes in the musical Conservatory.
Dissertação (Mestrado)
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"Cultivating Sound: Experimental Music Conservatory." Thesis, 2011. http://hdl.handle.net/1911/70419.
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This thesis examines the link between sound and perceptual space via the mechanism of the body, through an exploration of experimental music and the design of a conservatory expressly dedicated to its techniques. The use of poché space -- here defined as the space between major components of a specific program -- is critically considered, and ultimately turned on its head to provide the kind of spaces that support experimental music education and its processes. This new poché space is further linked to circulation, both of the students and faculty as well as the general public. Through the use of these circulation and experimental-space elements, combined in the poché, a new kind of porous field-object is inserted into the landscape of the city of Atlanta, specifically tuned in to its existing cultural spaces, that cultivates experimentation and participation to create entirely new forms of music.
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Gaines, Jason Michael. "Music Technology and the Conservatory Curriculum." Thesis, 2018. https://doi.org/10.7916/D8NP3MW2.
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Music conservatories play an important role in the musical development of musicians. Students often choose to attend a conservatory because they are seeking to focus their efforts on honing their skills as performers, composers, or both. The use of music technology has increased in recent years as hardware and software has become more user friendly, resulting in the incorporation of music technology into the professional practice of musicians. While the innovation of technology has been swift, the adoption of music technology by educators in music conservatories has been slow when compared to those in other institutions of higher education. With each passing year, conservatories are graduating an increasing number of musicians who are met with greater expectations than those of previous generations. This multi-site case study investigated the perceived role of technology in the conservatory curriculum as reported by conservatory students and faculty. Further, this study examined the supports that are in place, for both students and faculty, in regard to integrating technology into current and future curricula. Research has been conducted to investigate the integration of technology into curricula; however, the research tends to focus on challenges for technology integration rather than technology as a tool for supporting sound pedagogical practice.
Findings from this study indicate that students wish to see an increased presence of music technology in the curriculum as they hone their skills during their studies. Further, increased access to music technology, as well as support on using music technology in effective and engaging ways during instruction was identified. Conservatories can benefit from additional staff positions to support the use of music technology, frequent and relevant professional development for faculty, additional computer laboratories for student and faculty use, and increased communication between students, faculty and administration on the use of music technology throughout the conservatory. The implications of the findings and recommendations have the potential to positively impact the experience of students in conservatory communities. Future avenues of research might investigate the relevance of conservatory pedagogy in modern music performance and composition, pathways to support consistent and relevant professional development, and necessary supports to increase access to music technology for faculty and students.
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Dumlavwalla, Diana Teresa. "Approaching the Examiner's Chair: Chronicling the Experiences of Piano Examiner Apprentices for the Royal Conservatory of Music." Thesis, 2011. http://hdl.handle.net/1807/30055.
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Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students.
This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors.
These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.
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"Twentieth Century morceaux de concours for Oboe: A Study of Works Performed from 1920-1999." Doctoral diss., 2020. http://hdl.handle.net/2286/R.I.57164.
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abstract: ABSTRACT
The annual concours, or examens de fin d’année, of the Conservatoire national supérieur de musique et de danse de Paris (CNSMDP) is a centuries-old tradition that began in 1797. It serves to determine each participating student’s readiness for graduation. For each competition from 1797-1999, specific pieces were assigned for each instrument. Through much of the nineteenth century, conservatory professors wrote these pieces for their students. In the twentieth century, the practice of assigning works previously written by other composers or commissioning new works by (usually) French composers became the norm. Oboists outside of France tend to associate terms such as “conservatory pieces” or “concours pieces” with pieces assigned during the nineteenth century, while generally overlooking twentieth century morceaux de concours. The purpose of this paper is to bring these forgotten pieces to light and provide background information to help oboists determine the suitability of these pieces for their own performance contexts.
Because research regarding the pieces selected during Professor Georges Gillet’s tenure (1882-1919) is already available, this paper focuses on the pieces selected from 1920-1999. A list of required pieces for oboe from 1824-2000, obtained from CNSMDP archive manager Sophie Lévy, made possible the compilation of an annotated bibliography of morceaux de concours for oboe from 1920-1999. (The annotated bibliography ends with the 1999 concours because, since 2000, oboists have been required to select their own programs.) The bibliography lists every piece that was performed, but only gives detailed descriptions of (1) twentieth century pieces that were specifically commissioned for the concours and (2) twentieth century pieces selected, but not specifically commissioned, for the concours, that are not considered to be part of the standard oboe repertoire. A brief description of trends observed within this set of contest pieces follows the bibliography, along with appendices intended to facilitate more productive use of the bibliography.Dissertation/Thesis
Doctoral Dissertation Music 2020
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"Mel Bonis: Six Works for Flute and Piano." Doctoral diss., 2013. http://hdl.handle.net/2286/R.I.18008.
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abstract: The end of the nineteenth century was an exhilarating and revolutionary era for the flute. This period is the Second Golden Age of the flute, when players and teachers associated with the Paris Conservatory developed what would be considered the birth of the modern flute school. In addition, the founding in 1871 of the Société Nationale de Musique by Camille Saint-Saëns (1835-1921) and Romain Bussine (1830-1899) made possible the promotion of contemporary French composers. The founding of the Société des Instruments à Vent by Paul Taffanel (1844-1908) in 1879 also invigorated a new era of chamber music for wind instruments. Within this groundbreaking environment, Mélanie Hélène Bonis (pen name Mel Bonis) entered the Paris Conservatory in 1876, under the tutelage of César Franck (1822-1890). Many flutists are dismayed by the scarcity of repertoire for the instrument in the Romantic and post-Romantic traditions; they make up for this absence by borrowing the violin sonatas of Gabriel Fauré (1845-1924) and Franck. The flute and piano works of Mel Bonis help to fill this void with music composed originally for flute. Bonis was a prolific composer with over 300 works to her credit, but her works for flute and piano have not been researched or professionally recorded in the United States before the present study. Although virtually unknown today in the American flute community, Bonis's music received much acclaim from her contemporaries and deserves a prominent place in the flutist's repertoire. After a brief biographical introduction, this document examines Mel Bonis's musical style and describes in detail her six works for flute and piano while also offering performance suggestions.Dissertation/Thesis
D.M.A. Music 2013
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Magalhães, Maria João Montenegro Pinto de. "Pallco – Performing Arts School & Conservatory : experiência profissional e proposta de implementação de musicoterapia." Master's thesis, 2020. http://hdl.handle.net/10400.14/32922.
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A instituição Pallco – Performing Arts School & Conservatory, localizada no Porto, foi a entidade acolhedora do estágio curricular com a duração de seis meses, integrado no Mestrado em Gestão de Indústrias Criativas. O presente relatório de estágio estrutura-se em duas partes: uma primeira parte é dedicada a um panorama geral da instituição de estágio e à experiência que ali desenvolvi; uma segunda parte aborda o tema da musicoterapia e a possível implementação desta terapia na instituição de estágio. A instituição é integrada no contexto do sector de atividade, o ensino artístico, com os seus aspetos diferenciadores, e é caracterizada no que se refere à sua estrutura e funcionamento. As ações de estágio são descritas de forma detalhada, procurando evidenciar as competências adquiridas. O segundo aspeto do relatório apresenta a definição e aspetos da história musicoterapia, enquadrando esta prática no contexto escolar, a nível nacional e a nível internacional e explanando a figura e a profissão do musicoterapeuta. Finalmente, explora-se uma proposta de implementação de musicoterapia na instituição de estágio.The institution Pallco - Performing Arts School & Conservatory, located in Porto, was the establishment where I performed the curricular internship, lasting six months, included in the Masters of Creative Industries Management. The present essay structures in two parts: the first part is dedicated to an overview of the internship institution and the experience I developed there; the second part addresses the theme of music therapy and the possibility of applying this therapy in the internship institution. The institution is included in the context of the artistic training, with its different aspects and it is featured in what refers to its structure and functioning. The internship activities are described in detail trying to highlight the acquired skills. The second part of the essay introduces music therapy’s definition and history, fitting this use in schoolar context, national and worldwide, explaining the figure and career of a music therapist. Lastly, it is explored a proposal to implement music therapy in the internship establishment.
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Min, Cui, and 崔敏. "A Study for Reusing the Kulangsu Campus of Central Conservatory of Music as a Cultural and Creative Park." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/stqzzb.
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碩士國立臺北教育大學
文化創意產業經營學系
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Many local governments promote economic revitalization plan with an eye to effectively promote industry development. Under the leading of the government, many historical relics sites and old villas in Gulang Island are reconstructed in the direction of culture and creative park. With the grants, Gulang island management teams and other relevant units take actions, such as reconstruction and various types of promotion activities, leading the messy island back to cultural and Musical Island, which is full of historical and cultural atmosphere. In order to offer a reference for reconstructing this island to a culture creative park, this study takes "Gulang Island" as the object, and deeply analyzes the reform strategy of the Central Conservatory of Music, Piano Academy at Gulang Island. Base on literature, in-depth interviews, expert review and field observation, firstly, we review files related with transformation strategy, cultural and creative park, and Gulang island. Secondly, we sum up reconstruction strategy of Central Conservatory of Music, Piano Academy at Gulang Island after we interview some government agencies, artists and experts, and collect multiple data. Finally, we put forward the conclusions and recommendations, which are examined by experts. In view of reform strategy, channel strategy and promotion strategy, we conclude 55 specific integrated marketing strategies. We hope the government and culture workers could use the integrated reform strategy as a reference in the progress of reconstruction.
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CHIA, Han-Chun, and 賈涵珺. "Study on Taiwanese music study tour to Europe: Experiences of WACH Conservatory of Music’s summer camp as example." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/cpj284.
Full textAbstract:
碩士國立臺灣師範大學
歐洲文化與觀光研究所
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Taiwan’s overseas music summer camp has been in the market for years, but there hasn’t been any academic paper regarding the subject. This research studied Taiwan’s overseas music summer camp by contracting the topic down to the learning experience of Taiwanese students in a summer music camp to Europe. The research revealed the process of Taiwan’s music summer camp to Europe, using WACH Conservatory of Music’s music summer camp as an example. Conducted in qualitative method, the research interviewed 10 students who had attended WACH Conservatory of Music’s music summer camp. To better represent the population, the research has chosen participants of different age group who visited different countries in various years. Through analyzing the discourse of the interviewees with related theories, this research offered an answer to whether Taiwan’s music summer camp to Europe is beneficial to participants’ music ability from the participants’ angle. The rest of the research covered the influence of the music camp on the participants’ future, and the participants’ suggestions to the study tour organizations and the future participants.
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Geoffroy-Schwinden, Rebecca Dowd. "Politics, the French Revolution, and Performance: Parisian Musicians as an Emergent Professional Class, 1749-1802." Diss., 2015. http://hdl.handle.net/10161/9944.
Full textAbstract:
In this dissertation, I argue that musicians began to emerge as a professional class during the French Revolution (1789-1804) by mobilizing Enlightenment philosophies of music, pre-revolutionary social networks, and economic upheaval. I conceive of this phenomenon within a broad macro-historical context beginning in 1749 with Rousseau's first articulations of music and political culture, and ending with institutional changes at the Paris Conservatoire in 1802. My research applies an anthropological approach to the archives as set forth by scholars including William H. Sewell, Jr., Bernard S. Cohn, and Natalie Zemon Davis. Through archival discoveries from across Parisian archives, I elucidate how musicians capitalized upon revolutionary change to pursue personal and collective advancement as artists and professionals. This approach takes the concept of musicianship as a multivalent social category that traverses musical genres and institutions. This study contributes to the nascent movement to reincorporate economic life back into the historiography of the French Revolution and to a relational approach to the politics of expressivity and practice in musical production. The result of this study is a rethinking of previous historical accounts of revolutionary musicians as simply utilitarian.
In focusing on practicing musicians, their social networks, and their economy, I demonstrate the unique political circumstances of musical production and practice in late eighteenth-century Paris. I conclude that revolutionary politics among composers, performers, and pedagogues gave birth to a distinct form of French musical Romanticism rooted in the negotiation of rational approaches to music with the lived experiences of Revolution. This perspective locates one origin of musical Romanticism in Parisian musical institutions during the second half of the eighteenth century. In Paris, musical genius came to be regarded as a collective attribute applicable to not only composers, but also to performers. This shift toward inclusive professional musicianship constituted an evolution of musical production and aesthetics, which held profound implications for cosmopolitan nineteenth-century European music culture.
Dissertation
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Přibová, Marie. "Plzeňská konzervatoř se zaměřením na houslové oddělení." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-396847.
Full textAbstract:
The diploma thesis "The Pilsen Conservatory with a Focus on the Violin Department" first deals with historical contexts that are connected with important violin personalities of the Pilsen Conservatory. The first part presents historical events which are linked to significant violinists of the Conservatory in Pilsen. Its aim is to present complex overview of the teachers who worked at the Conservatory from its beginning and who contributed to the high level of the Violin department with their experienced work. The thesis also focuses on the important graduates who represented or still represent the school with their pedagogical and artistic success at diverse musical events either in the Czech Republic or abroad. The second part brings interesting interviews with the teachers and the graduates of the school. Among them the most interesting are the parts where the teachers explain the methodology, which they use in their lessons. From the point of view of the oral history the teachers' memories of their beginning with the violin, difficulties during the study or their life are also very interesting.
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Panchartková, Petra. "Claude Debussy: Klavírní dílo a jeho využití na uměleckých školách." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-312600.
Full textAbstract:
This work deals with the life and work of French Impressionist composer called Claude Achille Debussy and its utility in primary and secondary levels of art education. The first part focusses on the life and work of the composer and gives more details about his piano work. The second part, using the surveys and interviews of the teachers of elementary music schools, examines the use of Claude Debussy's work and Impressionism in teaching at elementary music schools and Conservatories. We can also find there the section with fully cited interviews with an elementary music school teacher who uses Claude Debussy and Impressionism works in her lessons and with a pupil who, under her direction, interpretes a compositon of Claude Debussy. There are eighty examples of the musical compositions by Claude Debussy attached and as well as the recording of an elementary music school pupil interpreting Debussy's Arabesque. KEY WORDS Claude Debussy, piano, piano composition, interpretation, utility in teaching, elementary music school, the Conservatory.
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Costa, Ana Salomé Rodrigues da. "O papel do Conservatório de Música e Artes do Dão na formação profissional dos alunos através do ensino articulado de música: Retratos sociológicos de dez antigos alunos." Master's thesis, 2020. http://hdl.handle.net/10071/21063.
Full textAbstract:
Esta dissertação analisa as trajetórias individuais de carreira de um conjunto de dez jovens que frequentaram o ensino articulado de música, no Conservatório de Música e Artes do Dão, no segundo e terceiro ciclos, entre os anos 2007 e 2015. Através das entrevistas, de carácter biográfico, foi possível construir dez "retratos sociológicos", onde se analisaram os percursos dos antigos alunos, os tempos e os momentos da formação profissional, as desilusões e os sucessos, a importância da família, a influência dos professores e da escola do ensino articulado de música como um dos momentos cruciais de socialização destes jovens alunos. Nos seus discursos, os jovens destacam a qualidade de ensino do Conservatório de Música e Artes do Dão (CMAD), tendo este sido a sua "rampa de lançamento" para o "mundo das artes" da música. Aqueles que seguiram uma profissão artística mencionam a importância das atividades desenvolvidas no Conservatório para o enriquecimento dos seus interesses artísticos, despertando e desenvolvendo a sua criatividade. Por fim, os jovens que deixaram de lado a sua formação artística salientam a importância das ferramentas adquiridas durante a sua formação no ensino articulado de música, não só ao nível artístico, como também ao nível cognitivo e enquanto meio de socialização. Foi possível concluir que, independentemente da área profissional que estes jovens escolheram seguir, o ensino articulado de música teve um impacto positivo na sua trajetória de carreira académica e pessoal.This thesis analyzes the individual career paths of a group of ten young students who attended the articulated teaching of music at the Conservatório de Música e Artes do Dão (Conservatory of Music and Arts of Dão), between the years 2007 and 2015. Through the interviews, of a biographical nature, it was possible to construct ten "sociological portraits", where the career paths trajectories of the former students were analyzed, the times and moments of professional formation, the disappointments and successes, the importance of the family, the influence of the teachers and the school of the articulated teaching of music, as one of the crucial moments of socialization for these young students. In their speeches, the young students emphasized the quality of teaching at the Conservatório de Música e Artes do Dão (CMAD), which was their "beginning of the path" in the "art world" of music. Those who followed the artistic profession mention the importance of the activities developed at the Conservatory to enrich their artistic interests, awakening and developing their creativity. Finally, the young students who left their artistic training aside mention the importance of the tools acquired during their training in the articulated teaching of music, not only at the artistic level, but also at the cognitive and socialization level. It was possible to conclude that regardless of the professional domain they chose to pursue, the articulated teaching of music had a positive impact on their academic and personal trajectory of career.
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Nogueira, Maria José Pontes Gomes. "O enquadramento da disciplina de Canto no Ensino Artístico Especializado em Portugal desde o século XVIII até à atualidade." Master's thesis, 2016. http://hdl.handle.net/10284/5700.
Full textAbstract:
Este trabalho tem como principal objetivo a investigação e reflexão do ensino da música, designadamente do ensino de Canto, analisando não apenas a prática vocal, mas primordialmente a experiência pedagógica praticada ao longo dos últimos anos. Num primeiro momento, é apresentada uma contextualização histórica do ensino da música em Portugal, em meados do século XVIII. Este percurso pretende ainda expor a evolução do ensino musical desde a criação do primeiro Conservatório de Música de Lisboa em 1835 até à atualidade, identificando as especificidades pedagógicas mais recentes no que respeita à disciplina de Canto. Em segundo lugar, são identificados os aspetos progressivos e regressivos do ensino de Canto, através da análise de todos os diplomas legais aplicáveis. Relativamente à apreciação evolutiva desta disciplina, o presente estudo centra-se na Escola Artística do Conservatório de Música de Coimbra (EACMC) e nos seus 30 anos de existência. Neste sentido, são mencionadas as principais causas de sucesso e/ou insucesso da referida disciplina, apresentando algumas soluções para os problemas identificados.The purpose of this study is mainly to provide some research and reflection on Music teaching, more specifically on the teaching of Singing. In this particular field, we conducted an analysis of the vocal practice, as well as of the pedagogical experiences throughout the last years. In the first part of the study, we present the historical contextualization of the teaching of Music in Portugal, which begins in the 18th century; we then focus on the establishment of the first Music Conservatory of Lisbon, in 1835; finally, we address the specificities of the current pedagogical practices, in particular the ones concerning the field of Singing. In the second part of the study, we address the progression and regression in the teaching of Singing by analyzing all the applicable laws. The study also focus on the Escola Artística do Conservatório de Música de Coimbra (EACMC) and on its 30th anniversary in particular, taking into account the way Singing developed through the years in this school. In this context, we refer to the main causes of students’ success/failure in Singing and present some solutions for the problems that were found.