Dissertations / Theses on the topic 'The Plimsouls (musical group)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'The Plimsouls (musical group).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.
Full textWaugh, Deborah. "Nexus : integrating musical traditions /." Thesis, View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37120335.
Full textFeldmeier, Mark Christopher 1974. "Large group musical interaction using disposable wireless motion sensors." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/33547.
Full textIncludes bibliographical references (p. 113-114).
One of the difficulties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer. Multiple tests of the system have been conducted, with groups ranging from fifteen to 200 participants. Results of these tests show the viability of the sensors as a large group interaction tool. Participants found the interface intuitive to use, effectively controlling such aspects of the music as style, tempo, voicing, and filter parameters. These tests also demonstrate the system's ability to detect both the activity level and dominant tempo of the participants' motions, and give considerable insight into methods of mapping these data to musical parameters that give participants direct feedback as to their current state. Furthermore, it is shown that participants, if given this direct feedback, will synchronize their actions and increase in activity level, creating a mutually coherent and pleasing outcome.
by Mark Christopher Feldmeier.
S.M.
Hsieh, Su-Ching. "Cognition and musical improvisation in individual and group contexts." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/10019875/.
Full textSuner, Sedef. "Preschool Children As A User Group: Design Considerations For Musical Toys." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614074/index.pdf.
Full textgovernments
Weinberg, Gil 1967. "Interconnected musical networks : bringing expression and thoughtfulness to collaborative group playing." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/28287.
Full textIncludes bibliographical references (p. 211-219).
(cont.) In order to addressee the latter challenge I have decided to employ the digital network--a promising candidate for bringing a unique added value to the musical experience of collaborative group playing. I have chosen to address both challenges by embedding cognitive and educational concepts in newly designed interconnect instruments and applications, which led to the development of a number of such Interconnected Musical Networks (IMNs)--live performance systems that allow players to influence, share, and shape each other's music in real-time. In my thesis I discuss the concepts, motivations, and aesthetics of IMNs and review a number of historical and current technological landmarks that led the way to the development of the field. I then suggest a comprehensive theoretical framework for artistic interdependency, based on which I developed a set of instruments and activities in an effort to turn IMNs into an expressive and intuitive art form that provides meaningful learning experiences, engaging collaborative interactions, and worthy music.
Music today is more ubiquitous, accessible, and democratized than ever. Thanks to technologies such as high-end home studios, audio compression, and digital distribution, music now surrounds us in everyday life, almost every piece of music is a few minutes of download away, and almost any western musician, novice or expert, can compose, perform and distribute their music directly to their listeners from their home studios. But at the same time these technologies lead to some concerning social effects on the culture of consuming and creating music. Although music is available for more people, in more locations, and for longer periods of time, most listeners experience it in an incidental, unengaged, or utilitarian manner. On the creation side, home studios promote private and isolated practice of music making where hardly any musical instruments or even musicians are needed, and where the value of live group interaction is marginal. My thesis work attempts to use technology to address these same concerning effects that it had created by developing tools and applications that would address two main challenges: 1. Facilitating engaged and thoughtful as well as intuitive and expressive musical experiences for novices and children 2. Enhancing the inherent social attributes of music making by connecting to and intensifying the roots of music as a collaborative socialritual. My approach for addressing the first challenge is to study and model music cognition and education theories and to design algorithms that would bridge between the thoughtful and the expressive, allowing novices and children an access to meaningful and engaging musical experiences.
by Gil Weinberg.
Ph.D.
Martins, Áudrea da Costa. "Linhas, vozes e tracks : a textura na composição musical de crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36016.
Full textThe present research is an approach to acoustic and electronic collective musical composition by music students aged between 10 and 12. It aims to analyze the several demonstrations which involve musical texture, pointing out the way those are attached to the conception of time and the processes of inference which grant musical creation activity. The subject-matter is composed by 16 regular students from public schools who attended workshop on composition guided by the researcher. The conception of such study places the research in the area of Jean Piaget´s Genetic Epistemology whose theoretical body gives support to investigation in Musical Education area. The data have been collected during the period of November 2010 to April 2011 in the researcher´s work environment in which she performed interviews based on the adopted theoretical reference. The decision-making during the compositional process meets support in the inferences and in the concepts of sequence, length and simultaneousness which are inherent in time concept. In spite of the differences as to the compositional approach and the sound results of the musical products, the textural manifestation in the acoustic and electronic pieces proved to be similar in many aspects. The musical texture, important structural dimension in music, is a fundamental parameter in the exercise of composition. It offers a wide rank for the experimenting and creating expression of its authors. So, this work can bring new approaches in the compositional practice in group in the classroom which will provide a better comprehension in the student’s musical production.
Martin, Christopher Alan. "‘We Feed Off Each Other’: Embodiment, Phenomenology and Listener Receptivity of Nirvana’s In Utero." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143406900.
Full textBeegle, Amy C. "Children at work in their musical expression : a classroom-based study of small group improvisation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11204.
Full textWallace, Matthew R. "Holding back the flood Thom Yorke, Radiohead, and post-industrial capitalism /." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/MWallace2007.pdf.
Full text"May 2006." Date of submission on Certificate of Authorship: 30 April 2007. Title from PDF title page (viewed June 26, 2007). Includes bibliographical references.
Cannas, Sonia. "Geometric representation and algebraic formalization of musical structures." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAD047/document.
Full textThis thesis presents a generalizations of the neo-Riemannian PLR-group, that acts on the set of 24 major and minor triads. The work begins with a reconstruction on the history of the Tonnetz, a graph associated with the three transformations that generate the PLR-group. The thesis presents two generalizations of the PLR-group for seventh chords. The first one acts on the set of dominant, minor, semi-diminished, major and diminished sevenths, the second one also includes minor major, augmented major, augmented, dominant seventh flat five. We considered the most parsimonious operations exchanging two types of sevenths, moving a single note by a semitone or a whole tone. We also classified the most parsimonious transformations among the 4 types of triads (major, minor,augmented and diminished) and studied the group generated by them. Finally, we have introduced a general approach to define parsimonious operations between sevenths and triads, but also the operations already known between triads and those between sevenths
Sakadakis, Stella. ""Where do the boys go?" : tracking the development of careers in the music industry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55453.
Full textMatheny, Alicia. "The body of light poems /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=819.
Full textBrown, Jennifer R. "Monsters, of whom I am chief a metaphoric and generic criticism of Jars of Clay's concept video, Good Monsters /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
Full textdu, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.
Full textLeBlanc, Sylvie. ""Le monde qu'on connaǐt" : the music of 1755 and the construction of Acadian identity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98548.
Full textMedeiros, Wenia Xavier de. "A Percussão na Performance Musical do Grupo Capoeira Angola Comunidade." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/8671.
Full textMade available in DSpace on 2016-09-19T18:55:28Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 4833347 bytes, checksum: 08c11e5744d99a81ec5478b78d401463 (MD5) Previous issue date: 2012-03-30
This research, in the scope of ethnomusicology, was carried out towards musical performance, having as its object of study the Master Naldinho Capoeira Angola community group, located in the Novais district, in João Pessoa, Paraíba. The general objective of this research was to present, analyze and reflect about the fundamental aspects which characterize the Capoeira Angola Community Group musical performance giving emphasis to its musical practice and its bond to the various elements of the cultural universe, especially towards the role and the general characteristics when playing the percussion instruments in the performance context. The research was carried out under ethnographic methodology – essentially centered on qualitative research instruments of data collection– in order to accomplish the proposed aims. To gather data, it was used bibliographic research, semi- structured interviews and participative observation which enabled the researcher to make recordings on video and audio, as well as photographic ones. To organize, analyze, and read the data it was needed to elaborate theoretical framework, musical transcriptions, design interviews, select photographies, and describe the fundamental aspects of this cultural manifestation. As a result of these processes , it was presented contemporary conceptions which gave ground to this dissertation leading to the contextualization of capoeira in Brazil and its symbolic shifting from political crime to immaterial Brazilian cultural heritage, having as its forerunner Master Bimba (from Capoeira Regional) and Master Pastinha (from Capoeira Angola). The research contextualized the moment when capoeira gave its first steps in Paraíba through the Soteropolitano Zumbi Bahia until reaching Master Naldinho’s House of Capoeira Angola, created by Master Nô from Bahia. When forming the group, Master Naldinho, not only shaped it, but gave specific and hierarchic structures, creating and developing peculiar sequences with musical complementation for each graduation. It is presented the constituent elements of musical performance of the group then part of the musical content collected given emphasis to the repertoire. It is also defined the particularities of the percussion instruments used in the group within the historical, technical and functional aspects. To conclude, it is analyzed the rhythmic structures and the toques from Capoeira de Angola in both roda presentations and in shows with the Berimbaus Angola Community Orchestra. Capoeira Angola musical practice is essentially collective, with importa nt entertaining, socializing and social inclusiveness functions – it also involves the preservation and the maintenance of traditions. Capoeira Angola is imbued with values, codes and believes that have group performative meaning with its inseparable eleme nts, such as its sonorous result characterized by the inter-relation between them.
Esta pesquisa na área de Etnomusicologia, é direcionada ao campo da performance musical, tendo como objeto de estudo o Grupo Capoeira Angola Comunidade do Mestre Naldinho, localizado no Bairro dos Novais, em João Pessoa, Paraíba, O objetivo geral da pesquisa foi apresentar, analisar e refletir acerca dos aspectos fundamentais que caracterizam a performance musical do grupo Capoeira Angola Comunidade enfatizando a prática musical do grupo e sua vinculação aos diversos elementos do universo cultural, sobretudo no que se refere à função e às características gerais da execução dos instrumentos de percussão ne sse contexto de performance. A fim de alcançar os objetivos propostos para a pesquisa, foi utilizada uma metodologia de cunho etnográfico, centrada fundamentalmente em instrumentos qualitativos. Dessa forma, os instrumentos de coleta de dados utilizados fo ram a pesquisa bibliográfica, entrevistas semi-estruturadas e a observação participante, onde foi possível realizar gravações de áudio e vídeo e registros fotográficos. Para organização, análise e leitura dos dados os procedimentos utilizados foram a elaboração do referencial teórico, as transcrições musicais e de entrevistas, seleção de fotografias, além da descrição dos aspectos fundamentais da manifestação. São apresentadas então, as concepções contemporâneas que fundamentaram o trabalho, para em seguida contextualizar a capoeira no Brasil e o momento de transformação simbólica, em que a capoeira passou de crime político a patrimônio cultural imaterial brasileiro, tendo como precursores Mestre Bimba (da capoeira regional) e Mestre Pastinha (da capoeira angola). Posteriormente é contextualizado o momento em que a capoeira deu os primeiros passos no Estado através do Soteropolitano Zumbi Bahia até chegar à Casa da Capoeira Angola do Mestre Naldinho, formado pelo Mestre Nô da Bahia. O Mestre Naldinho ao formar o Grupo Capoeira Angola Comunidade lhe dá não apenas forma, mas estruturas e hierarquia específicas, criando e desenvolvendo sequências de treinamento próprias com complementações musicais para cada graduação. São apresentados então, os elementos constituintes da performance musical do grupo. Em seguida, é apresentado parte do conteúdo musical coletado dando ênfase ao repertório. São definidas ainda as particularidades dos instrumentos de percussão utilizados no grupo nos aspectos históricos, técnicos e funcionais. Para finalizar são analisadas as estruturas rítmicas do toques utilizados na capoeira angola, tanto nas apresentações nas rodas quanto nos shows com a Orquestra de Berimbaus Angola Comunidade. A capoeira angola é uma prática musical fundamentalmente coletiva, com funções importantes de entretenimento, socialização, inclusão social além de preservação e manutenção da tradição. É imbuída de valores, códigos, crenças e significados que possuem sentido no conjunto performático e seus diversos elementos são indissociáveis, assim como, o resultado sonoro é caracterizado a partir da interrelação entre eles.
Martin, Christopher. ""We feed off each other" embodiment, phenomenology and listener receptivity of Nirvana's In utero /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143406900.
Full textGardner, Thomas. "The effect of electronically mediated sound on group musical interaction : a case study of the practice and development of the Automatic Writing Circle." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1075/.
Full textCorrêa, Juliane Riboli. "CONSTRUINDO CONHECIMENTOS MUSICAIS E PEDAGÓGICO-MUSICAIS EM GRUPO: EXPERIÊNCIAS FORMATIVAS NA EDUCAÇÃO ESPECIAL." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/7074.
Full textA presente dissertação está vinculada à Linha de Pesquisa Educação e Artes (LP4) do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria (PPGE/UFSM) e ao grupo de estudos Formação, Ação e Pesquisa em Educação Musical (FAPEM). Como objetivo geral, a pesquisa buscou investigar de que forma um grupo de alunas da Educação Especial (EE) em formação, mediado por experiências musicais e pedagógico-musicais, potencializa relações de aprendizado entre música e EE. Como objetivos específicos, procurou-se entender como o grupo de formação, mediado por experiências envolvendo Educação Musical e EE, constitui-se em um dispositivo de aprendizagem e compreender a função do grupo no desenvolvimento da aprendizagem docente. A investigação teve, como aporte metodológico, a pesquisa participante articulada à pesquisa-formação e foi desenvolvida através de um Grupo de Formação Musical e Pedagógico-musical (GFMP) constituído por mim e dez alunas de EE da UFSM. Como instrumentos metodológicos para a produção dos dados, foram utilizadas narrativas orais (realizadas durante os encontros) e escritas (realizadas através do diário de campo) das participantes. A pesquisa trouxe por referencial teórico autores como Josso (2010), Brandão (1992), Oliveira (2009, 2011), Ferry (2004), Imbernón (2010), Larrosa (2002), Dewey (1976), Bellochio (2000), Vygotsky (1982), dentre outros. Os dados produzidos na pesquisa foram analisados e organizados em categorias que transversalizam toda a escrita dissertativa. Como resultado desta investigação destaca-se a potência do grupo mediando experiências formativas musicais e pedagógico-musicais na Educação Especial e a música como um conhecimento que potencializa desenvolvimento. A pesquisa foi uma possibilidade de um caminhar para si, com os outros, na construção de novos conhecimentos e experiências formativas em relação à música e EE.
Goosman, Stuart L. "The social and cultural organization of black group vocal harmony in Washington, D.C. and Baltimore, Maryland, 1945-1960 /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11232.
Full textAlarcón-Jiménez, Ana-María. "Shima-uta of windows, mirrors, and the adventures of a traveling song /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464900.
Full textTitle from 1st page of PDF file (viewed July 23, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 60-64.
Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /." [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
Full textFranks, Douglas Keith. "An Investigation of a Group of Third Graders' Pitch Matching Skills When Using Male Voice, Piano, and Resonator Bells as Melodic Models." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500493/.
Full textBegnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.
Full textLechusza, Alan. "Without reservations : native hip hop and identity in the music of W.O.R. /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3371707.
Full textTitle from 1st page of PDF file (viewed Sep. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references and discography: P. 249-276.
Barry, Jennifer. "Stories and gaps : a study of narrative, discourse and musical awareness in a group of year six children's responses to music." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2006. http://hdl.handle.net/10092/3597.
Full textOliveira, Pedro Augusto Dutra de. "Por uma educação musical humanizadora: O ensino coletivo de música a várias mãos." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/2725.
Full textThis research took place in a Social Project, named Guri, in Batatais, a city of the state of São Paulo . The Guri Project is a socio-cultural music education program, mostly maintained by the State Government. The specific objectives of the research were to identify and describe musical practices that occur in different spaces of the building where the Project is installed. After identifying such practices, the educational processes was described, based in the students relationships, focusing their involvement with music. The methodological framework was based in the understanding on how that everyone learns in harmony, considering the social and the musical view. Three groups of musical practices have been identified, with the inclusion of the researcher in one of them within approximately three months, in order to participate and identify educational processes that occur among the students during the music practice. The first practice observed was among the percussion set, in the orchestra rehearsals during the Project . The second practice observed was the meetings of two little girls made, every week, in one of the empty rooms of the building, in an extra class time. The third and final insertion occurred in group activities developed in a string class. After identifying the educational processes, analysis and discussion the data, such processes were separated into the following categories: DIALOGUE AND MUSICAL SPEECH; COLABORATION AND LEARNING TOGETHER; COLABORATION, AUTONOMY, MUSIC PRACTICE AND THEIR RESULTS. The study aims to contribute in the field of music education, specifically to produce knowledge about music education from the perspective of humanizing education. For instance, we intended to understand how the students develop relationship between them and the music, how was being educated in community, considering the social and musical autonomy of the students.
A presente pesquisa foi realizada em um dos polos do Projeto Guri, mais especificamente no polo da cidade de Batatais, interior do estado de São Paulo. O Projeto Guri é um programa sociocultural de educação musical, mantido majoritariamente pelo Governo do Estado. Os objetivos específicos da pesquisa foram identificar e descrever práticas musicais coletivas que ocorressem nos espaços de convivência do prédio onde o Projeto está instalado. Após a identificação de tais práticas procurou-se descrever quais eram os processos educativos que decorriam das relações entre os alunos e alunas em seu envolvimento com a música. O objetivo geral era analisar os processos educativos identificados para procurar entender como alunos e alunas se educam coletivamente, partindo de suas próprias relações. Pretendeu-se realizar essa pesquisa por não encontrar pesquisas que ao tratarem do ensino coletivo de música, tivessem como objetivo adentrar práticas musicais coletivas já existentes para a partir delas entender, por meio daqueles que delas fazem parte, como os sujeitos se educam em coletividade. Foram identificadas três práticas musicais coletivas, havendo a inserção do pesquisador em cada uma delas num período aproximado de três meses, com a finalidade de conviver, participar e identificar processos educativos que ocorressem nas relações estabelecidas. Após a identificação dos processos educativos, e para análise e discussão dos dados, tais processos foram separados nas seguintes categorias: DIÁLOGO MUSICAL E DISCURSO MUSICAL, APRENDIZAGEM COLETIVA E COLABORAÇÃO, MUSICIDADE, AUTONOMIA, EXPÊRIENCIA MUSICAL e PRODUÇÃO CULTURAL. O estudo pretende contribuir no campo da educação musical, especificamente ao tratar o ensino coletivo de música sob uma perspectiva da educação humanizadora, ou seja, pretende-se entender como alunos e alunas em seu envolvimento entre si e com a música, se educam em coletividade, partindo das mais variadas relações estabelecidas entre eles, sujeitos autônomos que ensinam e aprendem.
Berman, Aaron. "Memento Mori." Pitzer College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,13.
Full textDymock, Laura. "No compromise with their society : the politics of anarchy in anarcho-punk, 1977-1985." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101878.
Full textLawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.
Full textTitle from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).
Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.
Full textGoodenough, Pammala K. "A comparison of computer-assisted and peer-partner practice in treble-staff note recognition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575082.pdf.
Full textLimeberry, John. "A rhetorical analysis of Pink Floyd's The wall." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722159.
Full textDepartment of Speech Communication
Oliveira, Rodrigo Batista de. "Encenação de Leitmotiv: o procedimento dramático-musical para a constituição de uma cena teatral e não dramática." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-19092016-165414/.
Full textThe Leitmotiv, as presented on the artistic and theoretical works of the German director Richard Wagner, is possibly one of the most important dramatic procedures of musical composing. Considering so, the present thesis analyses the range of its usage in contemporary and non-dramatic theatrical pieces. At first, we conduct a study regarding the term\'s definitions and archaeologies within the dramatic opera. Alongside, we investigate the conceptions of the dramatic genre in the operatic and theatrical languages, taking as basis the literature of Immanuel Kant, Joseph Kerman, and Peter Szondi. In order to update the term\'s possible meanings within the theatrical contemporary production, we associate to Leitmotiv the following concepts: Schizophonia, published by the composer Raymond Murray Schafer; Environment, conceived by Renato Cohen; and, lastly, Ritornello, as described by the philosophers Gilles Deleuze and Félix Guattari. Furthermore, we investigate the contemporary concepts in three recently presented shows: the adaptation of Georg Büchner\'s Woyzeck, by the Ukrainian director Andriy Zholdak; the operistic installation Trem Fantasma [Ghost Train], created by the German artist Christoph Schlingensief, based on Wagner\'s opera The Flying Dutchman; and Life and Times, a production from the North-American performance group Nature Theater of Oklahoma, under the direction of Pavol Liska and Kelly Copper, presented in several episodes. To plunge into the operating of such procedure in the midst of artistic creation, we examine the creative processes of two plays in which the researcher took part, both from the Brazilian group [pH2]: estado de teatro, called Manter em local seco e arejado and Mantenha fora do alcance de crianças, developed by a method focused on the main idea of this thesis: staging the Leitmotive.
Bender, Felicia. "Girls will be boys and boys will be girls : gender subversion in the work of Split Britches Company and the Ridiculous Theatrical Company, 1967-1996 /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841265.
Full textCosta, Viviane de Mendonça Fiaia. "Potencialidade interpretativa do piano digital Clavinova CVP 401: um estudo de caso." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/4001.
Full textApproved for entry into archive by Erika Demachki (erikademachki@gmail.com) on 2015-01-29T17:44:58Z (GMT) No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5)
Made available in DSpace on 2015-01-29T17:44:58Z (GMT). No. of bitstreams: 2 license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Dissertação - Viviane de Mendonça Fiaia Costa - 2013.pdf: 2823749 bytes, checksum: ecfd680ce08bcf98dfe51f08f6e6d2d2 (MD5) Previous issue date: 2013-04-27
The digital piano is an instrument that has been increasingly used in the musicalization process, instrument practice, and performance. As every instrument has a peculiar technique, the digital piano also offers possibilities in musical interpretation. In the context of teaching piano in group, we investigated the possibilities that the digital clavinova piano CVP 401, instrument used in the piano laboratory at UFG, offers to the musical interpretation. Therefore, the aim of this research is to study the possibilities that the digital piano offers for musical interpretation in this context. For this purpose, three musical pieces of three different music styles were taught: classic, romantic, and Brazilian dance (samba), for piano students in groups, presenting technical tools for distinction in articulation and phrasing for each style in order to evaluate the end result sound. The results are discussed based on the concept of interpretation and musical style of Thurston Dart (2000), Nikolaus Harnoncourt (1998 ), Muniz Sodré (1998) and Carlos Sandroni (2008) technical knowledge of the mechanism of the digital piano used, assessment of four renowned pianists, and the researcher’s experience and knowledge in using the acustic piano and the digital piano. As a result of this work, the digital clavinova CVP 401 offers a potential for different interpretation styles, but with limitations regarding the level of repertoire and the reverberation of harmonics.
O piano digital é um instrumento que vem sendo cada vez mais utilizado no processo de musicalização, prática do instrumento, e performance. Como todo instrumento possui uma técnica peculiar, o piano digital também oferece possibilidades na interpretação musical. Dentro do contexto do ensino de piano em grupo, investigamos as possibilidades que o piano digital clavinova CVP 401, instrumento utilizado no laboratório de piano em grupo da UFG, oferece para a interpretação musical. Para isso ensinamos três peças de três estilos musicais, clássico, romântico e dança brasileira (samba), para alunos de piano em grupo, apresentando ferramentas técnicas para distinção de articulação e fraseado referentes a cada estilo com o intuito de avaliarmos os resultados sonoros. Discutimos tais resultados tendo como fundamentação o conceito de interpretação e estilo musical conforme Thurston Dart (2000), Nikolaus Harnoncourt (1998), Muniz Sodré (1998) e Carlos Sandroni (2008), o conhecimento técnico sobre o mecanismo do piano digital utilizado, a avaliação de quatro pianistas renomados e as experiências e conhecimentos da utilização do piano acústico e piano digital desta pesquisadora. Como resultado desse trabalho, o piano digital clavinova CVP 401 oferece uma potencialidade para interpretação de estilos diferenciados, mas com limitações no que concerne ao nível do repertório e a reverberação de harmônicos.
Leme, Luis Santiago Malaga. "Práticas informais no ensino coletivo de sopros: um experimento no Guri." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-093552/.
Full textThis work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.
Eberle, Soraya Heinrich. "Cantar, contar, tocar... A experiência de um Grupo de Louvor como possibilidade para a formação teológico-musical de jovens." Faculdades EST, 2012. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=376.
Full textUma proposta de formação teológico-musical das juventudes, a partir do contexto de um grupo de louvor. Averigua de que forma se dá esta formação e como pode ser trabalhada com intencionalidade. No primeiro capítulo, são contextualizadas as três grandezas constituintes da pesquisa: as juventudes, a música sacra contemporânea e a educação cristã em contexto evangélico-luterano. No segundo capítulo, aborda os diferentes paradigmas que sustentaram a música sacra em contexto evangélicoluterano, as correntes da música sacra atual e, a partir do contexto contemporâneo, o fenômeno gospel. O terceiro capítulo trabalha com as narrativas de vida de seis jovens, que participam de um grupo de louvor e adoração. A partir dessas narrativas, emergem quatro categorias para a análise: formação de vínculos, protagonismo e tutela, compreensão de papéis e funções e a aprendizagem no e a partir do grupo. O quarto capítulo esboça um diálogo entre a prática no grupo de louvor, o Plano de Educação Cristã Contínua da Igreja Evangélica de Confissão Luterana no Brasil e a teoria sócio-interacionista proposta por Vygotsky. O quinto capítulo faz uma proposta de formação teológico-musical que pode servir de subsídio para o trabalho com jovens em contexto comunitário, a partir de reflexões e de práticas
A proposal for theological-musical training for youth groups based on the context of a praise group. It verifies in what way this training takes place and how it can be worked with intentionality. In the first chapter, the three constituting groupings of the research paper are contextualized: the youth groups, contemporary sacred music and Christian education in an Evangelical-Lutheran context. In the second chapter, the different paradigms which sustained sacred music in the Evangelical Lutheran context, the currents of modern sacred music and, based on the contemporary context, the Gospel phenomenon are dealt with. The third chapter works with the life narratives of six youth who participate in a praise and adoration group. Based on these narratives, four categories arise for analysis: formation of ties, protagonism and tutelage, comprehension of roles and functions and the learning in and based on the group. The fourth chapter outlines a dialogue between the practice in the praise group, the Plan for Continuing Christian Education of the Evangelical Church of Lutheran Confession in Brazil and the social-interactionist theory proposed by Vygotsky. The fifth chapter presents a proposal for theological-musical training which can serve as a resource for the work with youth groups in the congregational context, based on reflections and practices.
Flach, Gisele Andrea. "Arranjos para piano em grupo : um estudo sobre as decisões, escolhas e alternativas pedagógico-musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/87671.
Full textThe research seeks to reflect upon the process of arranging musical pieces made for teaching piano. It seeks to explain and recognize the choices, decisions and options put before potential didactical musical problems and didactics of musical instruments. Pieces were analyzed and created to be played in class piano, consisting of pieces made to be played by four or five students on the same piano, an activity that was developed by the researcher in two institutions where she worked during her Masters: Ascarte (Associação Pró-Culture e Arte Ivoti)/Instituto de Educação Ivoti (IEI) and the Fundarte (Fundação Municipal de Artes de Montenegro), both located in Rio Grande do Sul State. As methodology, a memorial was developed, to work and explain the process of making arrangements, from authors such as: Bosi (1994); Teixeira, Zamberlan and Rasia (2009); Morisse (2012); and Anastasiou (2002). Seven pieces were analysed, four were prepared at different times, including: A História de uma Gata, the musical Os Saltimbancos, Luis Enríquez Bacalov and Chico Buarque (arranged in 2011), Three Little Birds by Bob Marley (arranged in 2011), Viva la Vida (arranged in 2009) and Speed of Sound (arranged in 2010), both by the group Coldplay. The other three pieces were arranged during the writing of this dissertation, throughout the year of 2012: Rock and roll old times, from various composers as it is a medley and Paradise and Violet Hill, both by the group Coldplay. As theoretical research, the concepts of arrangement, transcription, adaptation, reduction (Pereira, 2011; Duarte, 2010; Lima Jr, 2003; Aragão, 2001a and 2001b) and original music were addressed (Carvalho, 2008; Aragão, 2001a and 2001b). The reflections made from this research describe an exercise focused on piano technique, showing a pedagogical music approach where student learning is the foundation of the creation of each piece. The intent is that this project may potentially contribute to other teachers and students who seek alternatives and ideas to create their own material, according to their needs and/or to seek alternative materials, and, that they may analyze and ponder on how other pieces show and work musical didactics.
Kitson, Michael E. "The Sex Pistols and the London mob." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.
Full textA thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.
Tove, Landahl. "Det är roligare att spela med andra! : En kvantitativ enkätstudie om klaverlärares arbete med elevers musikaliska samspel." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-73448.
Full textMany piano students I´ve meet, including myself, never played chamber music until they went to gymnasium or university. This made me wonder how many opportunities piano students studying at culture and music schools had to play with others. The purpose of the study is to find out to what extent pianoteachers in these schools in the Stockholm Province work with interaction in music with their students and which factors affects which students interact with others. Data was collected by e-mailing questionnaires to which pianoteachers at the music and cultur schools had to answer. The answers were analyzed univariate, bivariate, tematic and correlations were tested on their statistical significance. The result showes that most teachers occasionally let their students play with someone, during their lessons. The results also showes that it differed between how teachers worked with interaction depending on whether they taught individually or in groups. It also is found that four different types of factors affected the respondents choices of which students who would get the opportunity to play with others. These were logistical factors, interests and friends of both pupil and teacher, the students' knowledge and ambitions, and special needs of the student. In the discussion the consequences of individuell lessons and group lessons are problematized. What the student learn from musical interaction is also discussed.
Smit, Sonja. "Challenging desire : performing whiteness in post-apartheid South Africa." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016358.
Full textFerro, Ãtalo RÃmulo de Holanda. "A inclusÃo do ensino de mÃsica nos currÃculos escolares do CRAJUBAR: contribuiÃÃes do estÃgio supervisionado do curso de licenciatura em mÃsica da UFC - campus Cariri." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10341.
Full textThis dissertation work had its development in the Post-Graduate Education Brazilian FACED - Faculty of Education of the Federal University of Cearà in the search line Education, Curriculum and Teaching and thematic Music Education. This research conducted an analysis of how the experiences of students by selecting the Bachelor of Music from UFC - Cariri who perform the Supervised contribute in the process of inclusion of music education in school curricula of Crajubar. The whole process of research was focused on the theoretical and practical actions of students of music directly involved Supervised schools. As methodological procedure, used the technique of qualitative social research Focus Group as a form of integrative methodologic that allows democratic debate of the experiences gained by students in supervised training in music education. From the results of this research have elaborated some recommendations with the aim of contributing to the harmonious relationship between the formation of competent teachers by the university and the process of inclusion of music education in the schools of the region.
Eberle, Soraya Heinrich. "Ensaio pra quê? : reflexões iniciais sobre a partilha de saberes : o grupo de louvor e adoração como agente e espaço formador teológico-musical." Faculdades EST, 2008. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=105.
Full textO Grupo de Louvor e Adoração como dispositivo e espaço educacional teológicomusical em comunidades da Igreja Evangélica de Confissão Luterana no Brasil (IECLB). A pesquisa inicia traçando um perfil histórico da introdução do modelo dos Grupos de Louvor e Adoração na IECLB. Para tanto, é delineado o contexto geral (musical, teológico, político e social) no Brasil entre os anos 1960-1980. É analisado o legado do reformador Martinho Lutero referente à música, e a formação da IECLB (Igreja Evangélica de Confissão Luterana no Brasil), e um relato histórico do surgimento do Movimento Encontrão, berço destes grupos em contexto luterano. Em seguida, apresenta a análise do encontro-ensaio do Grupo de Louvor e Adoração à luz dos escritos de Martinho Lutero, Paulo Freire e Lev S. Vygotsky, tendo em vista aquelas dinâmicas que englobam formação teológico-musical para os integrantes do grupo, e que possam vir a se refletir na vida comunitária ou sejam reflexos da mesma. Por fim, se propõe considerações para a dinâmica de um Grupo de Louvor e Adoração que possam se refletir na compreensão, no uso e na definição de papéis (por parte do grupo e da comunidade de adoração) da música no culto e na vida comunitária. Para tanto, descreve os principais tópicos da compreensão teológica presentes num Grupo de Louvor e Adoração e apresenta subsídios e considerações para uma intencionalidade teológica e formativa, referente ao uso e ao papel da música no contexto comunitário evangélico-luterano.
The Grupo de Louvor e Adoração (Praise and Adoration Group) as a musicaltheological educational space and instrument in congregations of the Igreja Evangélica de Confissão Luterana no Brasil (IECLB) (Evangelical Church of Lutheran Confession in Brazil). The research begins by outlining an historical profile of the introduction of the model of Praise and Adoration Groups within the IECLB. To do this, the general context (musical, theological, political and social) in Brazil between the years of 1960 and 1980 is delineated. The legacy of the reformer Martin Luther, as relates to music and to the formation of the IECLB is analyzed and an historical description is given of the emergence of the Encontrão Movement, which is the birthing place of these groups within the Lutheran context. Following this, an analysis is presented of the gathering-practice session of the Praise and Adoration Group in the light of Martin Luther's, Paulo Freire's and Lev S. Vygotsky's writings, looking at those dynamics which encompass theological-musical education for the members of the group and which could be reflected within the congregational life or be reflexes of this life. Finally, considerations are proposed for the dynamic of a Praise and Adoration Group which could reflect into the comprehension, use and role definition (on the part of the group and of the worshiping congregation) of music in the worship service and in congregational life. For this, the main topics of the theological comprehension present within a Praise and Adoration Group are described and resources and considerations are presented for an educational and theological intentionality with regard to the use and role of music within an Evangelical-Lutheran congregational context.
Parris, Cheryl A. E. "Bishop George Barrett's role in the FIGHT-Kodak conflict an examination of Episcopal authority and social justice /." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
Full textScott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.
Full textBachelors
Arts and Humanities
Music
Souza, Gisele da Silva. "“Somos quem podemos ser”: Engenheiros do Hawaii - jovens, rock, sensibilidades e experiências urbanas (1985-2003)." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21533.
Full textMade available in DSpace on 2018-11-05T13:01:48Z (GMT). No. of bitstreams: 1 Gisele da Silva Souza.pdf: 1669038 bytes, checksum: bedf2a7d0febbdf58b1255335d75ed4a (MD5) Previous issue date: 2018-09-14
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This dissertation investigates the work of Engenheiros do Hawaii and the emergence of the generation of young people in the 1980s, leading to a discussion on rock and issues involving the young at this time. The research was developed from songs and analysis of the covers of the 18 official discs of the group, in which we can observe various themes, among them the youth and the city. The analysis is organized in three moments. In the first one, he recovers the trajectory of rock, its arrival in Brazil and the formation of the rock generation of the 1980s, as well as marketing issues, cultural circularity and social and political criticism in the songs of Engenheiros do Hawaii observing the tensions experienced in the country during this period. Thereafter, discussions about the cities and the youth are incorporated, bringing representations such as the flâneur, dândi, nihilism, existentialism, experiences of urban violence representations such as the flâneur, dândi, nihilism, existentialism, experiences of urban violence generating fear, insecurity, solitude and anguish. Including also the existential yearnings of the young, their discouragement and the issue of consumption, either alcohol or drugs, attempts to face pain and regrets, forget loves and void relationships. Other issues addressed are the concerns about the expansion of technology, its physical and social impacts, hopelessness in the face of wars and violence
Esta dissertação investiga a obra dos Engenheiros do Hawaii e o surgimento da geração de jovens nos anos 1980, realizando uma discussão sobre o rock e as questões que envolviam os jovens nesse momento. A pesquisa foi desenvolvida a partir de canções e da análise das capas dos 18 discos oficiais do grupo, nas quais é possível observar diversas temáticas, entre elas a juventude e a cidade. A análise encontra-se organizada em três momentos. No primeiro, recupera a trajetória do rock, sua chegada ao Brasil e a formação da geração roqueira dos anos 1980, assim como as questões mercadológicas, circularidade cultural e a crítica social e política presente nas canções dos Engenheiros do Hawaii, observando tensões vivenciadas no país nesse período. Na sequência, incorporam-se as discussões acerca das cidades e da juventude, trazendo representações como o flâneur, dândi, niilismo, existencialismo, experiências de violência urbana, gerando medo, insegurança, solidão e angústia. Incluindo também os anseios existenciais dos jovens, seus desalentos e a questão do consumo do álcool e de drogas, as tentativas de enfrentar as dores e mágoas, esquecer amores e relações vazias. Outras questões abordadas são as inquietudes frente à expansão da tecnologia, seus impactos físicos e sociais, a desesperança frente às guerras e à violência
Cavalcante, Fred Siqueira. "Trocas de saberes musicais : um olhar para os processos educativos do grupo vocal Entre Amigos." Universidade Federal de São Carlos, 2010. https://repositorio.ufscar.br/handle/ufscar/2239.
Full textFinanciadora de Estudos e Projetos
This study had as its aim to regard, describe and understand the educational processes developed among the integrators of the vocal group "Entre Amigos" ("Among Friends"), existing at the town of Leme, in the state of S. Paulo inward. In order to accomplish this purpose, it was necessary to catch those participators' opinions, as well as hear and understand their life experiences. Such apprehension became possible through their performances in the group actions, that include interchanges of knowledges and musical activities in their various actuation spaces. The data collecting was obtained by means of photos, videos and through the searcher s participant observation, being the camp diary the principal instrument for the research. Some semi- organized interviews were also done, with open regulation, based on education and musical education authors. The registers were later valued and understood in the light of these two realms authors. Thus, the following concepts were studied and developed: social practices, educative processes, experience knowledge, conscientization, humanization and dialogical education. The results indicate six dimensions, catched in the intersubjectivity, that compose different aspects of the educative processes developed in the group context, that are: intimacy (familiarity) among friends, planning through dialogue, rehearsal routine, contextual construction of musical knowledges, repertoires choice and arrangements elaboration. Those processes are ruled essentially in two directions: the one of the human formation, and the one of the musical formation. Those ways are imbricated in the familiarity, presuppose a dialogical attitude of the participants before the knowledges, values and beliefs, and are built by means of exploitations and by actions regarded as vehicle to systematized and nonsistematized knowledges.
Este estudo teve por objetivo olhar, descrever e compreender os processos educativosdesenvolvidos entre os integrantes do grupo vocal "Entre Amigos", existente na cidade deLeme, no interior paulista. Para atingir este propósito, foi preciso captar as opiniõesdesses/dessas participantes, além de ouvir e compreender as experiências vividas poreles/elas. Essa apreensão se tornou possível através do desempenho deles/delas nas atividadesdo grupo, que envolvem trocas de conhecimentos e atividades musicais em seus diversosespaços de atuação. A coleta de dados foi realizada por meio de fotografias, vídeos e porobservação participante, sendo o diário de campo o principal instrumento para a pesquisa.Também foram realizadas algumas entrevistas semiestruturadas, com roteiro abertoconstruído com base em autores da educação e da educação musical. Os registros foramposteriormente avaliados e compreendidos à luz de autores desses dois campos. Para issoforam estudados e desenvolvidos os seguintes conceitos: práticas sociais, processoseducativos, saber da experiência, conscientização, humanização e educação dialógica. Osresultados indicam seis dimensões, captadas na intersubjetividade, que compõem diferentesaspectos dos processos educativos desenvolvidos no contexto do grupo, a saber: convivênciaentre amigos, planejamento em diálogo, rotina dos ensaios, construção contextual de saberesmusicais, escolha de repertório e elaboração de arranjos. Esses processos se pautamessencialmente em duas direções: o da formação humana e o da formação musical. Essas viasestão imbricadas na convivência, pressupõem uma atitude dialógica dos participantes diantedos conhecimentos, valores e crenças, e são construídos por meio de explorações e daveiculação de saberes sistematizados e não sistematizados.
Wettergren, Sandra. "Vilket bra uttryck! : En studie om lärares och elevers konstruktioner av begreppen personligt, konstnärligt och musikaliskt uttryck." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-72308.
Full textThe purpose of the study is to investigate how teachers as well as pupils at the upper secondary school's aesthetic program and at the music college approach the concepts of artistic, musical and personal expression. Previous research in the field shows that there is no clear definition of the concepts. The study was conducted through focus group interviews with teachers from a secondary school, teachers from a music college, students from a high school and students from a music college. In the analysis of the interviews, a discourse psychological perspective has been used. The result presents two general interpretation repertoires per concept. It appears that musical expression is constructed as technical knowledge and as the expression of music. Ar- tistic expression is constructed as creation as well as profound and expert knowledge. Personal expression is constructed as peculiar and something unique and as a musical interpretation. The result shows that there are different ways to define the concepts. The discussion discusses dif- ficulties in defining the concept though the concepts are considered to overlap with each other and that the context and experience of using the concepts are important for how the concepts can be defined. The concepts are also discussed in relation to Skolverkets curriculum.