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Dissertations / Theses on the topic 'Royal College of Music'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Brightwell, Giles William Edward. "'One equal music’ : the Royal College of Music, its inception and the legacy of Sir George Grove 1883-1895." Thesis, Durham University, 2007. http://etheses.dur.ac.uk/2611/.

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The establishment of the Royal College of Music (RCM) in 1883 represents the denouement of an eighteenth-century movement to found a conservatoire with a national remit in Britain. Whether motivated by the desire to rival Continental conservatoires to generate and develop an environment in which a worthy successor to Purcell could be nurtured or to create an indigenous musical workforce to obtain direct control of market forces, the RCM was seen as a panacea in the light of the demise of the experimental National Training School for Music (1876-1882) and the ineffectual Royal Academy of Music founded in 1822. The NTSM's financial concerns led Sir Henry Cole to approach the Royal Commission of 1851 for aid. In return for a meagre grant, the Commission insisted the NTSM remodel its management and constitution on pain of eviction from buildings on the Kensington Estate. Cole's approach to 1851 Commissionets precipitated the involvement of the Prince of Wales and other senior members of the Court that led directly to the establishment of the RCM in 1878.Attempts to institute the RCM as a quango to regulate the music profession alongside music education both at elementary school and university level were intended to provide ideal circumstances for inducing comprehensive treasury assistance where the NTSM failed. When this proved elusive, a contingency was provided by George Grove (first RCM Director from 1882) who, at the request of the Prince of Wales, imtiated a capital fund. The introduction of fee-paying students alongside scholars provided financial security that distanced the College & insolvency. Substantial growth in numbers during the first few years forced Grove and the Council to address the issue of a new building. Grove's appointment of an unrivalled professorial staff and the development of a rigorous curriculum, whose inspiration was to be found within the Continental traditions in France and Germany, had paid dividends. By 1894, the results of RCM's pedagogical methods were respected across Europe. The appointment of Grove's neighbour, Alexander Mackenzie, as Principal of the RAM heralded an environment for mutual co-operation between two rival institutions. The institution of local examinations under the Associated Board of the Royal Academy of Music and the Royal College of Music from 1889 marked the conclusion of further attempts to amalgamate the two institutions. The foundation of both the Associated Board was intended to provide a remedy to the shortage of suitably-qualified candidates entering for scholarships and to improve music tuition among school children as set out in the RCM's 1883 charter. The coalition created formidable opposition to Halle's proposal to establish a chartered Royal College of Music in Manchester (RMCM) in 1893 and Parliament's attempts to include music within the provision of the bill for the regulation and registration of teachers. The foundation of the Associated Board allowed Grove to begin implementing the RCM's remit to lead the music profession on both a national and imperial scale. The RCM's national and European reputation established by Grove was consolidated under the directorate of his successor, c. Hubert H. Parry, who confirmed the RCM's global reputation to which other, fledgling institutions, such as New York's Juilliard School of Music, came to aspke. Grove's initiatives, which began the process of emancipating composer and performer alike, went on to transform Britain's international musical reputation within a generation, the ramifications of which continue to affect us more than a century later.
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2

Pampel, Ines, and Peter Horton. "Dresden – London 2012." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-130345.

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Jede außergewöhnliche Geschichte beginnt mit Kreativität, Mut und Freiheit. Da braucht es Menschen, die Neuartiges kreieren sowie Menschen, die die Chance erkennen, den Weg frei zu machen und sich beteiligen. Eine solche erfreuliche Konstellation führte an der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB) im letzten Jahr erstmalig zum europäischen Personalaustausch. Zwei Musikbibliothekare aus London und Dresden wagten Neuland: für mehrere Wochen tauschten sie ihren Dienst- und Lebensort, um in den anderen Bibliotheken mitzuarbeiten, sich fachlich sowie sprachlich weiterzuentwickeln und erfuhren dabei vielfältige Unterstützung.
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3

Prince, Andrew Charles Vaughan. "Learning the collision regulations at Britannia Royal Naval College." Thesis, University of the West of England, Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.572899.

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This Thesis reports on a study of the ways in which officer cadets study the Collision Regulations at Britannia Royal Naval College (BRNC), which is widely held to be difficult and, anecdotally, leads to a high failure rate on testing. The research is opportunistic since my background both in the Royal Navy and as a civilian lecturer at BRNC facilitated unprecedented access and the potential for original discoveries. I took a mixed-methods approach with both quantitative and qualitative features within a pragmatic paradigm, based upon an eclectic selection of methodological models to suit the case, in order to achieve a measure of triangulation upon the learning with the aim of understanding it: I chose not to be bound by anyone theoretical perspective. In order to facilitate this I set five research questions. My aim was to add to the existing body of research on learning in order to generate some practical recommendations for improving learning the Collision Regulations to the benefit of the College and the wider seafaring community. I reached four principal conclusions: first, that there were a number of practical ways in which the learning could be improved; second, that the biggest single factors in determining success or failure were the attitude towards learning and the confidence exhibited by the students; third, that the failure-rate is not as high as expected and the majority of students at this level do not find it as difficult as anecdotal and historical evidence suggests and fourth, that to describe and understand the unique context of learning at BRNC requires a combination of several theoretical approaches to learning.
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4

Adler, Supeena Insee. "Music for the Few| Nationalism and Thai Royal Authority." Thesis, University of California, Riverside, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3630638.

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The khrueangsai pii chawaa ("Thai stringed instruments with Javanese oboe") ensemble in central Thailand is a unique and highly-regarded ensemble known for its repertoire, idiosyncratic tuning, high level of technical difficulty, and exceptionable virtuosity. Khrueangsai pii chawaa is reserved for very special royal functions including processions and dramatic performances of royal literature. Royal authority indirectly controls the performance and transmission of the ensemble and its repertoire, which is now maintained professionally only by the Fine Arts Department of the Thai government. At present only a few musicians are capable of performing or teaching the repertoire and performance style for this ensemble. The selection of new students is competitive and politicized. The khrueangsai pii chawaa ensemble is rare and kept largely outside of the gaze of ordinary spectators in Thai society. Nonetheless, a few individuals in institutions outside of Bangkok have tried to build khrueangsai pii chawaa ensembles, challenging the limits of authority and exposing tensions within the musical community. I argue that royal authority functions to keep this musical ensemble endangered by design, so that those chosen to participate maintain a powerful control over the tradition and repertoire and thereby preserve their unique social status.

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5

Kahunde, Samuel. "Our royal music does not fade : an exploration of the revival and significance of the royal music and dance of Bunyoro-Kitara, Uganda." Thesis, University of Sheffield, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.574557.

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After the kingdoms of Uganda were abolished in 1967, the royal music and dance of Bunyoro-Kitara kingdom was not performed, and remained obscure both locally and internationally, because it had been little documented. However, when the kingdoms were allowed to operate again in 1993, a process of revival started. This study has been undertaken with the aim of understanding the royal music and dance of Bunyoro-Kitara with regard to its revival, characteristics, and significance to the Banyoro people. The study has been guided by the following research questions: What are the characteristics of the royal music and dance of Bunyoro-Kitara? What does the royal music and dance of Bunyoro-Kitara kingdom express with regard to social structure and culture? What is the role of the royal music and dance of Bunyoro-Kitara? How does the revival of the royal music and dance of Bunyoro-Kitara compare with other revivals? This study was carried out in 2008 and 2009 using fieldwork methods of inquiry, such as participant-observation, interviews, personal communication, and questionnaires. The following findings have been generated: The royal music and dance of Bunyoro-Kitara consists of different genres which include the amakondere, the Empango, the entajemerwa, the entimbo, the kaijwiire/timbeeta, the kyarubanga, the enseegu, and the enaanga; it is different from the non-royal music and dance with regard to form, design, organisation, styles, names, venues, and accompaniment; it expresses the history, social structure, culture, and perspectives about authenticity of Bunyoro-Kitara kingdom; it plays communicative, symbolic, and aesthetic roles; and its revival differs from many other studied revivals, and it offers counter-examples to current revival theories proposed by other scholars. Overall, this study provides new knowledge about the royal music and dance of Bunyoro-Kitara, as well as furthering scholarly understandings of the relationships between music and social structure, of authenticity in music, and of revivals.
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6

Harding, Michael David 1960. "A performer's analysis of Hans Werner Henze's "Royal Winter Music", Sonata I." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/288945.

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Royal Winter Music (First and Second Sonatas on Shakespearean Characters) by Hans Werner Henze is the largest composition for solo classical guitar written to date. It is comprised of nine movements, each movement a musical portrait of a character from Shakespeare's plays. My discussion focuses on the first sonata, comparing a detailed examination of the Shakespearean characters, and any applicable dialogue, with Henze's musical portraits. The musical analysis is from a performer's viewpoint and does not offer a strict theoretical analysis. Instead, my intention is to find key components of form, harmony, and other musical elements that illuminate the inner workings of Henze's music and its relationship to the Shakespearean character.
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7

Hume, James Cameron. "The Chapel Royal partbooks in eighteenth-century England." Thesis, University of Manchester, 2013. https://www.research.manchester.ac.uk/portal/en/theses/the-chapel-royal-partbooks-in-eighteenthcentury-england(18b3a468-67ea-42b8-a9a1-1aa51505d33f).html.

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This thesis provides a comprehensive source study of the eighteenth-century Chapel Royal partbooks (London, British Library R.M.27.a–d). The 56 manuscript volumes in this collection, which are now catalogued into four groups (or ‘sets’), were used in the daily choral services at St James’s Palace during the eighteenth and nineteenth centuries. The sources have a complex history since they have an ‘organic’ quality whereby the books continued to be copied into and altered whilst they were in regular use. The first part of the thesis (chapters two to six) examines the physical characteristics of the manuscripts by considering the books’ construction, the traits of the copyists, and the way material was gradually added. Paper and scribal analysis, as well as general cataloguing work, are used to identify the contents and explore the layers of copying. The second part of the thesis (chapters seven and eight) looks at the function of the books and considers the collection within its eighteenth-century context. Documentary sources are considered alongside various elements of the books to establish how the partbooks were used in performance. The Chapel’s method of partbook organisation is then compared with the organisation of similar collections at other choral foundations (including those with which the Chapel had strong connections).
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8

Gibbs, Fiona Joy. "The Royal Albert Hall : a case study of an evolving cultural venue." Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/380/.

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Scholarship concerning the importance of understanding audiences and venues for music has developed a great deal over the last two decades. This thesis examines one element of this research: the importance of the venue as a space for culture. The Royal Albert Hall, a world-famous but little- understood venue, acts as case study for this text. Through a mixed-methods approach, this thesis seeks to answer four questions concerning the relationship between a public space and the events it hosts in the case of the RAH explicitly: What factors have affected the identity of the RAH as a public venue? How have these changed during the Hall's existence? How do these factors affect the events which the Hall hosts? Does a space affect what happens inside it? These questions will allow us to gain a deeper understanding of how a fixed cultural space can be repeatedly reshaped by multiple, often overlooked, factors as well as the extent to which these factors can affect the identity of a venue.
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9

Lewis, Ruby Margaret. "The educational functions of the Royal Liverpool Philharmonic Society 1840-1990." Thesis, University of Liverpool, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.264281.

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10

Parsoneault, Catherine Jean. "The Montpellier codex : royal influence and musical taste in late thirteenth-century Paris /." Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3008416.

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11

Young, James A. (James Alan) 1968. "Brief Symptom Inventory : Music and Non-Music Students." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc500917/.

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The present study is a comparison of music and non-music students with respect to their response patterns on the Brief Symptom Inventory as well as several demographic questions. The sample consisted of 148 non-music students and 141 music students at three levels: (1) freshmen/sophomore; (2) juniors/seniors; and (3) graduate students. Music students consisted of volunteers from several different music classes and non-music students were volunteers from non-music classes. There were no significant differences found among or between groups for the BSI subscales. However, music students were significantly less likely to have gone to counseling in the past and to seek professional counseling for future problems. Recommendations for psycho-educational interventions with musicians are discussed as well as suggestions for future research.
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12

Whiteley, Simon J. O. "Deterioration and repair of visual function in the Royal College of Surgeons rat." Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.344049.

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13

Kim, Yŏng-suk. "The artist-teacher as college music educator /." Access Digital Full Text version, 1993. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11396155.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1993.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Harold Abeles. Includes bibliographical references (leaves 217-220).
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14

McCluskey, John M. "Music as Narrative in American College Football." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/57.

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American college football features an enormous amount of music woven into the fabric of the event, with selections accompanying approximately two-thirds of a game’s plays. Musical selections are controlled by a number of forces, including audio and video technicians, university marketing departments, financial sponsors, and wind bands. These blend together in a complex design that offers audible and visual stimulation to the audience during the game’s pauses. The music chosen for performance in these moments frequently communicates meaning beyond entertainment value. Selections reinforce the game’s emotional drive, cue celebrations, direct specific audience actions, and prompt behaviors that can directly impact the game. Beyond this, music is performed to buttress the successes of the home team, and to downplay its failures. As this process develops over the course of the game, the musical selections construct a sonic narrative that comments on the game’s action, enhancing or suppressing audience members’ emotional reactions to the events on-field, and informing their understanding of the game’s developments. By preparing for and responding to in-game situations, music creates a coherent narrative out of football’s unpredictable events. This project demonstrates the use of musical narrative in American college football via close consideration of case studies of games representing five of the most prominent college athletic conferences, the Atlantic Coast Conference, the Big 10, the Big 12, the Pac 12, and the Southeastern Conference. These sources include interviews with college football’s musical agents, including sound operators, band directors, and producers, as well as documentation of the games’ on-field developments and the music that accompanies them. Finally, this project utilizes of musical narrative as a new means of critically considering the power lines of race and gender in college football culture.
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15

Taylor, Thomas Michael. "Physical education at the Royal Military College of Canada, a case for academic accreditation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ63378.pdf.

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16

Cunliffe-Charlesworth, Hilary. "The Royal College of Art : its influence on education, art and design 1900-1950." Thesis, Sheffield Hallam University, 1991. http://shura.shu.ac.uk/3144/.

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The Royal College of Art is considered through its teaching of art and design, and its work as a centre for the training of art teachers. The ideas of some of the staff are evaluated with regard to the need for art and design education. The influence of the diplomates of the College on the areas of education, art and design is appraised with a view to assessing the value of the work of the College. The relevance of government bodies to the Royal College of Art is examined in some detail, notably the Board and Ministry of Education, the Board of Trade and the Treasury. The relationship between the Civil Servants and the College Principals, Visitors and College Council are considered. The extent to which the College was prevented from achieving its original aims and objectives is explored. This is appraised together with examples of criticism the College received from government circles and external bodies. How such criticism was adapted for future educational policy at the College is also noted. When the Royal College of Art obtained independence from the Ministry of Education the College established its status as a post-graduate institution and was able to address the requirements of modern design education. The Appendices provide details of the Royal College of Art's chronology of events, statistical information and summarised results of a questionnaire given to ex-students.
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17

Straw, Millard Michael. "Missouri high school music students' perceptions of recruitment techniques utilized by college and university music departments /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9823326.

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18

Constantine, Megan Eileen Clay. "The High School Musical Experiences of College Students." Case Western Reserve University School of Graduate Studies / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=case1307739987.

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19

Tattersfield, B. K. "An agricultural college on the Cotswold hills : The Royal Agricultural College, Cirencester, and the origins of formal agricultural education in England." Thesis, University of Reading, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.354111.

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Formal agricultural education in England came into existence with the opening of the Royal Agricultural College, Cirencester, Gloucestershire in 1845. For many years, it remained the sole agricultural college in the country. This begs the questions why was it created at this time, and in this place? Why was its example not widely copied? The original intention of the founders was to provide agricultural education for the sons of working farmers in the Cotswolds, but this could not be sustained, and the target group and the catchment area were soon changed. What brought about these changes? In seeking answers to these, and other questions, the key role of a single individual, R. J. Brown, is examined. He was acknowledged as the originator of the plan to create an agricultural college. Having no English precedent, Brown looked abroad for models, on which to base his proposals and arguments. Some of the models he chose are examined for possible sources of inspiration and influence. The roles of other individuals and groups involved in the development of the Royal Agricultural College are explored. Attention is given to the fact that the College, which became a national institution, was launched by a local Farmer's Club, at a time when local and county Agricultural Societies were flourishing and the Royal Agricultural Society of England had been in existence for seven years. Brown was not the only individual to outline proposals for establishing an agricultural college. Two similarcontemporary schemes, for Kent and for Yorkshire are included for comparison, both of which failed. The foundation of the Royal Agricultural College in England is seen as part of a diffusion process starting with the pioneering work in formal agricultural education in Switzerland and Germany and its gradual spread that included the creation of establishments at Templemoyle in Northern Ireland and at Grignon in France. The creation of the Royal Agricultural College is regarded as an innovation, the result of a directed social programme, with Brown as the change agent. Use is made of Beal1s Construct of Social Action to discuss the process of the development of the Royal Agricultural College and the start of formal agricultural education in England. A retrospective view from 1907 of the achievements of the Royal Agricultural College is attempted, in the light of the evidence offered by the Principal of that time
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20

DeAngelo, Christopher A. "Thomas Muffet & The College of Physicians a battle for power /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1578.

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21

Minevich, Pauline M. "Now performing with universal applause, music at the Theatre-Royal, Drury Lane, 1747-1776." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq31095.pdf.

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22

Minchev, Kiril M. "Age-related changes in kidney function in female pigmented Royal College of Surgeons (RCS) rats." Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1178344.

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The Royal College of Surgeons (RCS) rat is an established animal model used to study human retinal dystrophies. This study investigated whether kidney dysfunction accompanies the eye abnormalities seen in this model. Overnight urine collection procedures were used to measure protein excretion in 2, 12, and 22 month old female pigmented RCS rats and control rats (RDY). Clearance experiments were performed in anesthetized rats to measure glomerular filtration rate (GFR) and renal plasma flow rate (RPF). There was an age-related increase in protein excretion in both RCS and RDY rats, but the protein excretion was significantly higher in the RCS rats at 2 and 22 months of age. Whole kidney GFR and RPF were significantly lower in the 22 month old RCS rats, when compared to age-matched RDY rats. These findings suggest that the RCS rat exhibits both kidney and eye abnormalities.
Department of Physiology and Health Science
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23

Bakhlina, Anna. "Vocal college on Langholmen." Thesis, KTH, Arkitektur, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-34709.

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Main idea of my project is how I can design a building for music and especially for voice - which is the natural instrument of a human body. The music college something more than the place for training music technical skills but the building by itself preform as instrument, as a platform for experimenting with different acoustic features, as a place of inspiration as well as an a performing venue. In theory music is a temporal art, and architecture – is spatial one. However music forms the spatial bounders while it` sounds in the certain space. Rhythm, harmony and movement – they are both reflected in music and architecture. Design of a school is based on integration of this principles into architecture. And I have been working at how the rethinking of musical education process can affect the shape, structure and appearance of the building for the singing.
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Lagerstrom, Elizabeth Hope. "Preparation for Music Degree Programs: Undergraduate Music Majors’ Perceptions of the Degree Program and the Activities that Helped Them Prepare." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306941925.

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25

Lamarre, Greg Brian. "Experimental and computational determination of radiation dose rates in the SLOWPOKE-2 research reactor at the Royal Military College of Canada/Collège militaire royal du Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/Mq44912.pdf.

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Morton, Sarah. "The legacies of the repatriation of human remains from the Royal College of Surgeons of England." Thesis, University of Oxford, 2017. https://ora.ox.ac.uk/objects/uuid:adba50f9-85b6-421d-b8bc-648c381611bc.

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The repatriation of the human remains of Indigenous peoples collected within a colonial context has been the subject of debate within UK museums over the last 30 years, with many museums now having returned human remains to their countries of origin. Although the repatriation of human remains is often characterised as the 'journey home', there has been a lack of consideration of the physical presence and mobility of the remains and the meanings created as they move through different spaces. This study uses the repatriations from The Royal College of Surgeons of England (RCS) to Australia, New Zealand and Hawaii as case studies to consider three key areas: (i) the impact of repatriation on museum landscapes; (ii) the journey of the repatriated remains and how this mobility intersects with wider discussions about restitution, sovereignty, identity, relatedness, memory and memorialisation; and (iii) the repatriation archives, how they are thought about by the institutions that hold them and their future potential and meaning within a post-colonial context. Taking a more-than-representational approach and engaging with the materiality, mobility and agency of the repatriated remains and the documentation that relates to them, this study bridges the gap between research considering the approach of museums to repatriation, and ethnographic studies on the meanings of the return of ancestral remains to individual communities. Combining work on museum geographies, deathscapes and absence opens up new ways of theorising and discussing repatriation through understanding the process in terms of the tension between absence and presence, and human remains as being in or out of place. Through engaging with the materiality and agency of the remains and viewing repatriation through a spatial lens, this thesis deals with aspects of the process that have received little attention in previous studies, foregrounding the challenging nature of repatriation for communities, the issues around unprovenanced remains, and discussions about the control, management and meaning of information and data, identifying that a significant legacy of repatriation for RCS is the documentation the museum continues to hold. What the journey of the ancestral remains repatriated by RCS illustrates is the emotive materiality of the remains, and agency that they and the distributed repatriation archive have as actors within social networks. It is therefore proposed that the concept of repatriation as having problematised human remains collections within UK museums is replaced with a nuanced and contextually sensitive understanding that recognises the role of the human remains in social interactions that impact on the emotional geographies of museum practice, and that rather than framing repatriation as post-colonial act that is either political or therapeutic, the return of ancestral remains be understood as part of a process of decolonisation in which there is space for discussion, disagreement and debate amongst all stakeholders.
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Wathey, A. B. "Music in the Royal and noble households in late medieval England : studies of sources and patronage." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.235758.

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Daigle, Elise. "Examining Music Ensemble Recruitment and Retention through Student Persistence into College Performing Ensembles." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523523995130136.

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29

Turner, Gregory E. "Evaluation of Kansas public community college music programs in meeting the goals for general education established by the National Association of Schools of Music and the College Music Society." Virtual Press, 1999. http://liblink.bsu.edu/uhtbin/catkey/1117721.

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This study analyzes the music departments of Kansas public community colleges (1) to ascertain whether those responsible for music curricula agree that general education is a priority, and (2) to evaluate how well Kansas community college music departments meet the needs of general education music students compared to the guidelines for general music education established by the National Association of Schools of Music and The College Music Society. The study addresses the broad issues related to music in general education: (1) academic music courses, (2) faculty assigned to teach these courses, and (3) performance opportunities for students other than music majors.This study presents data compiled from surveys mailed to community college music department spokespersons at each of the nineteen community colleges in the State of Kansas. Potential respondents were selected from the full-time music faculty list provided by the Kansas Association of Community Colleges. For purposes of this study, general education music courses are defined as academic courses, performing ensembles, and private study designed for students not majoring or minoring in music. Sixteen colleges responded, resulting in an eighty-four percent response rate.Kansas community college music department respondents prioritized music curricula functions as: (1) transfer of music majors/minors to four-year schools; (2) general education opportunities; (3) community service; (4) vocational training; and (5) remedial education. Although only three community colleges in Kansas report belonging to the National Association of Schools of Music, and in spite of the fact that a majority of institutions give highest priority to the major/minor transfer student, the state's community colleges' music curricula offered to the general-education student compare favorably to both NASM and CMS standards.
School of Music
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Montocchio, Edouard Francis. "The nature of music education at the South African College of Music : an interpretative enquiry." Master's thesis, University of Cape Town, 1989. http://hdl.handle.net/11427/22088.

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This project began with a Preliminary Study, in which the members of the 1985 final-year class at the SACM were interviewed to investigate their goals and the way in which these goals related to their curricula. The main findings of this study were that the students were unclear about their goals, their reasons for studying music at the SACM, and their future prospects. In addition, their perception of the SACM included criticism of items of curricular content and teaching methods. These findings led to a central goal question which was to become the focus of a more objective, broadly based, interpretative study that would be more apposite for investigating a topic of this complexity. This goal question is: "WHAT ISSUES DO THE PEOPLE INVOLVED AT THE SACM PERCEIVE AS AREAS OF CONCERN, IN RESPECT OF THEIR EXPERIENCE AT THE SACM, AND WHAT ARE THESE CONCERNS?" Accordingly, the main part of this investigation took the form of an attempt to sketch a collective perception of the nature of the education provided at the SACM. An institution like this is the theatre of numerous simultaneous agendas and interpretations. Its activities, directions and the education which it provides will appear different trom different perspectives. It was thus decided to obtain responses from a range of people connected with the SACM, to reflect these different perspectives. The sample who contributed to this perception is drawn from among the teachers, administrators, students, past students, parents of students and others professionally connected with the SACM.
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31

Buckmaster, Matthew T. "Teaching strategies of successful college trombone professors for undergradute students." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001712.

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32

Cunha, Alcingstone de Oliveira. "The Portuguese royal court and the patronage of sacred music in Rio de Janeiro, 1808-1821 /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37122091j.

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Diss.--Philosophie--Fort Worth, Tex.--Southwestern Baptist theological seminary, 1998.
Liste des musiciens (compositeurs et instrumentistes) de la Chapelle royale de Rio de Janeiro. Bibliogr. p. 151-165.
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33

Tu, Chia-Fang. "Observation and Evaluation of Two Composer-Teachers of Pre-College Piano." Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214246893.

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34

Hughes, Thomas Edward. "A hypermedia listening station for the college music literature class." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185444.

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A common task facing college freshman and sophomore music majors is the acquisition of recognition ability for a core repertoire of music literature. It seems plausible that interactive computer technology holds great promise for the development of this particular skill. To test this premise, students from an undergraduate music literature class of approximately 80 members were chosen to participate in a study. Students in the experimental group (n = 17) utilized a computerized listening station (employing researcher-designed instructional programming) to determine if such use would augment the ability of those Ss to identify selected works in a subsequent recognition task, while students in a control group utilized a typical repeated hearing strategy. A Likert-scale questionnaire administered prior to the study served as a pretest and assessed the students' knowledge of composers and works included in the study. No significant difference between the groups was found. At the conclusion of the study, a recognition test was administered which required students to identify composers, works, movements of works, and theme groups of the works included in the study. Ss in the experimental group had a significantly higher score (p < .001) on the posttest than the control group. The results of the study suggest that use of such a listening station improves the ability of undergraduate music majors to develop a recognition ability for basic music repertoire, and possibly decreases the amount of time needed for the process. Recommendations include: (1) expanding study sample sizes in subsequent studies, (2) widening the music example pool, (3) expanding the study to include more dependent variables in the analysis, and (4) including more detailed time analysis in subsequent studies.
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35

Hanna, Margaret A. (Margaret Ann). "Benjamin West's St. Paul Shaking the Viper from his Hand After the Shipwreck: Altarpiece of 1789 and Designs for Other Decorative Works in the Chapel of St. Peter and St. Paul, The Royal Naval College, London." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc332489/.

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This thesis analyzes Benjamin West's altarpiece St. Paul Shaking the Viper from His Hand After the Shipwreck and his designs for thirty-three related artworks in the Royal Naval College Chapel, Greenwich, England, as a synthesis of the major influences in his life and as an example of both traditional and innovative themes in his artistic style of the late eighteenth century. This study examines West's life, the Greenwich Chapel history, altarpiece and decorative scheme, and concludes that the designs are an example of West's stylistic flexibility and are related thematically to his Windsor Royal Chapel commission.
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36

Adams, Leslie Elizabeth. "Music despite everything." Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04042008-131845.

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37

Slusher, Hugh Douglas. "A comparison of the perspectives of college choral directors, voice teachers, and voice students concerning solo and choral singing." The Ohio State University, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392912787.

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38

Rege, Karen M. "An examination of music technology requirements for undergraduate performance majors." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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39

Bruff, Sandi. "The lived experiences of physical training during first year orientation camp at the Royal Military College of Canada." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ59364.pdf.

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40

Lam, Eric. ""HMS Pinafore" and the Queen's Navee, images of the Royal Navy in Victorian music and music theatre (Sir W. S. Gilbert, Sir Arthur Sullivan)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61449.pdf.

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41

Czepiel, Tomasz Marian Maksymilian. "Music at the royal court and chapel in Poland during the second half of the sixteenth century." Thesis, University of Oxford, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359703.

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42

Bang, Keum Ju. "The study of representative twentieth century piano compositions appropriate for use in contemporary college piano literature classes /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10778391.

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43

Sheek, James L. "Rural students, aspirations, motivation, and music education why don't more rural students make it to college? /." Greensboro, N.C. : University of North Carolina at Greensboro, 2007. http://libres.uncg.edu/edocs/etd/1400/umi-uncg-1400.pdf.

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Thesis (Ed.D.)--University of North Carolina at Greensboro, 2007.
Title from PDF t.p. (viewed Oct. 22, 2007). Directed by Carl Lashley; submitted to the School of Education. Includes bibliographical references (p. 153-159).
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44

Huang, Wei-Lin. "An investigation into Taiwanese music college students' self-management of musical performance anxiety." Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/383/.

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Taiwan has many high-level music colleges that prepare students for performance and teaching careers. These music colleges are competitive environments in which students are potentially learning to cope with musical performance anxiety (MPA). MPA has been widely researched in recent years. Studies have found that college musicians use their own unique coping strategies or rely on past experiences of coping with MPA to manage it. Nevertheless, literature that focuses on MPA self-management is still limited. The aim of this thesis is to fill this gap by investigating the ways in which MPA is self-managed by Taiwanese college musicians (TCMs). The research questions are: 1) How do TCMs define and perceive MPA? 2) How do TCMs self-manage MPA? 3) What strategies for managing MPA do the TCMs believe they will use with their students when they carry out teaching as part of their future portfolio careers? Fifty-three undergraduates were recruited from a music college in Taiwan. Each participant was interviewed before all of their performances taking place in one semester: formal concert, exam, and graduate recital. The data was analysed through a qualitative approach by using thematic analysis in order to examine the strategies used and the process of managing MPA. The findings are presented as four themes: 1) Strategies used in preparation for different types of performance, during different time periods of preparation and performance. 2) Strategies in context: people and places. 3) Understanding the strategies: metacognition in musical learning and managing MPA. 4) MPA self-management and the teaching-learning cycle. Results revealed that it is possible for TCMs to self-manage their MPA through developing metacognitive processes with support networks in the conservatoire environment and with various external resources. However, information on MPA-coping strategies are like pieces of a puzzle that are scattered rather than being coherently fitted together. Therefore, recommendations for further research and applications to practice are made.
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Dunbar, Laura L. "The Effect of Music on Impulsivity in College Undergraduate Students with Attention Deficits." Diss., The University of Arizona, 2014. http://hdl.handle.net/10150/322986.

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The purpose of this study was to investigate the effect of music listening on impulsivity as judged by the Conners' Continuous Performance Test (CPT) II v. 5. College undergraduate students were recruited into one of two groups and were administered a computer task (CPT) to complete in an initial condition, a music condition, and a silence condition. One group of participants had no diagnosed history of ADHD while the other participant group had a history of ADHD. The initial condition served as an opportunity for each participant to take the CPT with the researcher present to allow each participant to ask questions before taking the test alone; each participant was then taken to a separate testing room. As all participants were tested in all three conditions, the remaining two (music and silence) were randomly assigned to control for order effect. The music condition involved taking the CPT alone in the testing room with "In a Mello Tone" by Count Basie playing in the background during the test administration. The piece was manipulated to have a tempo of mm = 124 and looped to last the entirety of the CPT (14 minutes). Each participant was administered the CPT in a silence condition, in which the participant was alone in the testing room without other provided stimuli. The final sample was N = 51 with n = 26 enrolled in the typical group and n = 25 enrolled in the group with attention deficits. A significant main effect difference was found by group: the typical group exhibited lower impulsivity levels as compared to the ADHD group based on Commission mean scores. Additionally, significant main effect differences were found by condition (initial, music, and silence). Both the factors of group and condition appear to be independent as no interaction was found. Implications and suggestions for future research were discussed.
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Wasson, Carla Sue. "An analysis of college applied woodwind positions in the academic labor market from 1983-1990 /." Access Digital Full Text version, 1992. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11226171.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1992.
Includes tables. Typescript; issued also on microfilm. Sponsor: Harold F. Abeles. Dissertation Committee: Robert Pace. Includes bibliographical references (leaves 120-126).
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47

Carlson, Mary C. "Undergraduate music student recruiting practices and strategies in public colleges and universities /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953849.

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48

Brobeck, John T. "A MUSIC BOOK FOR MARY TUDOR, QUEEN OF FRANCE." Cambridge University Press, 2016. http://hdl.handle.net/10150/621897.

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Frank Dobbins in memoriam In 1976 Louise Litterick proposed that Cambridge, Magdalene College, Pepys Library MS 1760 was originally prepared for Louis XII and Anne of Brittany of France but was gifted to Henry VIII of England in 1509. That the manuscript actually was prepared as a wedding gift from Louis to his third wife Mary Tudor in 1514, however, is indicated by its decorative and textual imagery, which mirrors the decoration of a book of hours given by Louis to Mary and the textual imagery used in her four royal entries. Analysis of the manuscript’s tabula and texts suggests that MS 1760 was planned by Louis’s chapelmaster Hilaire Bernonneau (d. 1524) at the king’s behest. The new theory elucidates the content and significance of Gascongne’s twelve-voice canon Ista est speciosa, which appeared beneath an original portrait of Mary Tudor and was intended to mirror the perfection of the Blessed Virgin and her ‘godchild’ Mary.
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49

Mackay, Lisa 1972. "Mode in the Salve Regina settings of the Eton College choirbook." Monash University, School of Historical Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8207.

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50

Keast, Dan A. "Implementation of constructivist techniques into an online activity for graduate music education students /." free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144428.

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