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Articoli di riviste sul tema "MT Musical instruction and study"
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Eppstein, Ury. "Musical Instruction in Meiji Education. A Study of Adaptation and Assimilation". Monumenta Nipponica 40, n. 1 (1985): 1. http://dx.doi.org/10.2307/2385000.
Testo completo
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Ergasheva, Guli I., e Zahriddin X. Haitqulov. "A Study Of Machine Translation Theories And Methods". American Journal of Social Science and Education Innovations 2, n. 09 (30 settembre 2020): 665–70. http://dx.doi.org/10.37547/tajssei/volume02issue09-102.
Testo completoAbstract (sommario):
The demand for language translation has greatly increased in recent times due to increasing cross-regional communication and the need for information exchange. Most material needs to be translated, including scientific and technical documentation, instruction manuals, legal documents, textbooks, publicity leaflets, newspaper reports etc. Some of this work is challenging and difficult but mostly it is tedious and repetitive and requires consistency and accuracy. It is becoming difficult for professional translators to meet the increasing demands of translation. In such a situation the machine translation can be used as a substitute. This paper intends to study methods and techniques of Machine Translation (MT). Through the following points: History of MT, Statistical MT, Types of MT, and evaluation of MT.
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Brook, Julia, Rena Upitis e Wynnpaul Varela. "Informal music making in studio music instruction: A Canadian case study". British Journal of Music Education 34, n. 2 (28 marzo 2017): 153–67. http://dx.doi.org/10.1017/s0265051716000450.
Testo completoAbstract (sommario):
The purpose of this study was to gain an in-depth understanding of how one classically trained musician adapted his pedagogical practices to accommodate the needs and interests of his students. A case-study methodology was employed to explore the perceptions and practices of this teacher, and data were collected over a two-year period through interviews and observations. Findings indicated that students were engaged in music-making throughout the lesson, and that many of the lesson characteristics aligned with Lucy Green's (2002, 2008) descriptions of an informal pedagogical orientation. The overarching aim of the teacher's instruction was to support students’ development of musical knowledge and skills that would enhance their learning, and to expand their understanding of musical genres and performance practices.
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Dick, Thomas P., Gloria S. Dion e Craig L. Wright. "Connecting Research to Teaching: Case Study: Advanced Placement Calculus in the Age of the Computer Algebra System". Mathematics Teacher 96, n. 8 (novembre 2003): 588–96. http://dx.doi.org/10.5951/mt.96.8.0588.
Testo completoAbstract (sommario):
The widespread availability of such powerful software as computer algebra systems (CASs) marks the latest chapter in the ongoing story of technological evolution and its implications for mathematics education. The existence of CASs should force us to think carefully and reexamine ideas regarding curriculum and instruction (what and how we teach) and assessment of student learning (what and how we evaluate). We can gain some insight from considering the experience of the College Board's Advanced Placement Program. Advanced Placement (AP) calculus can serve as a case study of a program that has had to come to grips with a variety of CAS-related issues in curriculum, instruction, and assessment.
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Chen, Steve Shihong, e J. Richard Dennis. "Linking Different Cultures by Computers: A Study of Computer-Assisted Music Notation Instruction". Journal of Educational Technology Systems 21, n. 3 (marzo 1993): 207–24. http://dx.doi.org/10.2190/cyr8-7en1-ldme-cru0.
Testo completoAbstract (sommario):
CAMNI, which stands for Computer-Assisted Music Notation Instruction, is self-educational software designed and developed with HyperCard. This program features interactive hypermedia (inter-linked musical notation knowledge, musical tempo controlled by the user, the use of digital sounds and animation), multiple representation mode (the staff notation, the number notation, the letter name of notes and the piano keyboard, four representations are linked and can be switched from one to another easily or presented at the same time in terms of a user's need), graphical user interface “GUI,” context-sensitive-sound icon (the use of a sound icon in lesson navigation and sub-index design), direct manipulation (pointing and clicking objects to interact with the program), and self-directed but computer-context-sensitive-guided environment (multi-path navigation characterized by an author-designed but user-defined and individualized learning approach). The CAMNI was specifically designed for Chinese students who would like to study the staff notation whether or not they have background with the number notation (the traditional Chinese musical notation system).
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Menard, Elizabeth A. "Music Composition in the High School Curriculum". Journal of Research in Music Education 63, n. 1 (aprile 2015): 114–36. http://dx.doi.org/10.1177/0022429415574310.
Testo completoAbstract (sommario):
Student and teacher perceptions regarding composition instruction were investigated using case study techniques in two high school music programs: a general music program providing accelerated instruction to gifted musicians in small classes and a typical performance-based band program. Students in both programs participated in a composition instruction program. Qualitative data included student and teacher interviews, observation, and participant journals. Quantitative data included administration of a composition attitude survey and assessment of student compositions. Analysis of band director perceptions revealed themes identifying challenges to implementing composition instruction: performance culture traditions, time, class setting, teacher preparation, and lack of student fundamental musical knowledge. Teachers in both programs identified benefits as development of student potential, importance of exposure to composition, and increased musical understanding. In the band program, student attitude toward composition increased significantly from pre- to post-instruction, while the general music students, with previous composition experience, showed no change in attitude. Students from both programs identified time as a challenge to composition and also indicated frustration in their lack of fundamental music knowledge. Students identified enjoyment, improved musical understanding, personal expression, increased interest in music, and understanding composition process as benefits to composition experience.
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Mantasa, Dedi, e Yos Sudarman. "PENGGUNAAN APLIKASI BASIC GUITAR CHORDS 3D PADA PEMBELAJARAN SENI BUDAYA (MUSIK) DI KELAS VII SMP NEGERI 3 KECAMATAN HARAU". Jurnal Sendratasik 9, n. 3 (15 settembre 2020): 41. http://dx.doi.org/10.24036/jsu.v9i1.109436.
Testo completoAbstract (sommario):
AbstractThis study aims to describe the activities of Culture and Arts (music) teachers in grade VII of SMP Negeri 3 Harau District, Lima Puluh Kota Regency in implementing music instruction using the Basic Guitar Chords 3D application for learning guitar at school. The use of this guitar playing application provides an opportunity for students to learn guitar playing virtually with a different learning atmosphere from how guitar learning was theoretically and practically conducted before.This study uses references to results from relevant research and several theoretical studies especially those related to learning and instruction, learning methods, guitar learning through application, and Culture and Arts (music) instruction in junior high school.This is a qualitative research with a descriptive analysis approach. The object of research was teachers’ activities in implementing music instruction in grade VII of SMP Negeri 3 Harau. The learning observed involves learning guitar under the topic of playing a string instrument in a musical ensemble. The research instruments used were observation notes, interview notes, and document studies. The results of the study explain that learning guitar using the Basic Guitar Chords 3D application can create new experiences for students in learning music using the android application. However, due to the fact that the use of this application coincides with learning musical ensembles under the Basic Competence of playing simple music, this application conceptually does not support learning musical ensembles by using actual musical instruments.However, the teachers’ thought to explain that playing music can be done through application surely gives a point, and it can be developed by the teachers in learning music at school.Keywords: Android application, guitar, learning, instruction, ensemble
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Bergonzi, Louis. "Effects of Finger Markers and Harmonic Context on Performance of Beginning String Students". Journal of Research in Music Education 45, n. 2 (luglio 1997): 197–211. http://dx.doi.org/10.2307/3345580.
Testo completoAbstract (sommario):
This study is an investigation of the effects of finger placement markers (FPMs) and I harmonic context on the left-hand technique, intonation performance skills, and overall musical performance skills of sixth-grade beginning string students. Central to this study was the question of how a tactile/visual reference and an aural reference influence the development of string intonation performance skills. Subjects were assigned to research conditions in a 2 ? 2 factorial design (FPMs by harmonic context). Students received 90 minutes of weekly, heterogeneous-group instruction from the same teacher and used researcher-prepared audio home practice tapes to accentuate their class experience. Subjects with FPMs played significantly more in tune than those who did not have FPMs. Students whose instruction and practice were accompanied by harmonic background demonstrated a higher degree of overall musical performance ability. Differences were significant even after adjusting for musical aptitude. There were no differences in left-hand technique. Results of this study endorse the theoretical and practical support for the use of these teaching techniques in beginning string instruction.
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Hill, Matthew, Barry Hill e Robert Walsh. "Conflict in collaborative musical composition: A case study". Psychology of Music 46, n. 2 (21 maggio 2017): 192–207. http://dx.doi.org/10.1177/0305735617704712.
Testo completoAbstract (sommario):
In collaborative musical composition, such as those used frequently in popular music styles, conflicts between band members are commonplace. This article seeks to examine how task-based and interpersonal conflicts between band members impact on the creation of collaborative compositions, utilising a case study of a band composing music for an album recording. This paper reports on research that tracks the process of the creation of songs for a fourth album recording by a three-piece ensemble who have worked together since 1999. The composition process is marked by numerous disputes and arguments among the band personnel and the interactions between the band members move fluidly between phases of instruction, cooperation, collaboration and conflict. The authors (also the band’s members) analyse video and audio recordings of rehearsals, making observations based in grounded theory in relation to verbal and nonverbal interactions and offering personal reflections on these interactions. Drawing on theoretical perspectives in relation to communication, conflict and group dynamics such as group flow and empathetic creativity, individual and group behaviour are examined with emphasis on the impact of such behaviour on the collaborative process.
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Woody, Robert H. "The Effect of Various Instructional Conditions on Expressive Music Performance". Journal of Research in Music Education 54, n. 1 (aprile 2006): 21–36. http://dx.doi.org/10.1177/002242940605400103.
Testo completoAbstract (sommario):
This study is a comparison of the effectiveness of three approaches used to elicit expressivity in music students' performances: (a) aural modeling, (b) verbal instruction addressing concrete musical properties, and (c) verbal instruction using imagery and metaphor. Thirty-six college pianists worked with three melodies, one in each instructional condition. With each, subjects first gave a baseline performance, then received instruction for performing more expressively, and then gave a final performance. Subjects also verbally reported their thoughts during the process. Results confirmed that musicians can accommodate all three types of instruction used in the study and that each has strengths and weaknesses related to the characteristics of the music being performed and the musicians themselves. Additionally, analysis of the verbal reports suggested that musicians may use a cognitive translation process whereby they convert metaphor/imagery information into more explicit plans for changing the expressive musical properties of their performance (e.g., loudness, tempo, articulation). August 22, 2005 January 30, 2006
Tesi sul tema "MT Musical instruction and study"
1
Pasquet, Olivier. "Automatic versus automatic, materialized fiction as a confrontational compositional process : a resolved complexity : simplicity". Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34734/.
Testo completoAbstract (sommario):
The current submitted work consists of a portfolio of musical works, visual pieces and thoughts that preoccupied me over a period of research and creation from late 2014 to 2017. Pieces described in this thesis developed into an overall artistic research and craft which led to a specific workflow serving a new personal aesthetic. Two parts describe two seemingly antonymous automatic creation processes: automatic versus automatic. The first part describes my inspirations together with a consequent formal-ization of my composition techniques. I render generative automatic music both emerging from finite state computation and infinitesimal interference. The second part shows that I often perform my music in specific sites with challenging conditions. I consider them as constraints that eventually also be-come part of the composition system. The materialization of a piece involves aback-and-forth process, between concepts and realities, that I finally transcend in the sense of surrealist automatism. This mechanical and human process is a necessity for the authenticity to my pieces.
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Laporte, Jean-Francois. "Feedback : iterative research-creation processes between instrument-building, composition and performance". Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34777/.
Testo completoAbstract (sommario):
This text is a commentary on my preoccupations over the course of my doctoral research from 2013 to 2017. It accompanies a portfolio of works realized and submitted as part of this doctoral thesis, which looks more specifically at feedback as an iterative process between myself as instrument-builder, composer and performer. This approach, which puts sound center stage as the primary material, emphasizes the organic and bidirectional internal influences among these three creative poles. This thesis is devoted to the main subject of my doctoral research: the notion of creative feedback among instrument-builder, composer and performer. It is in five parts: 1. A definition of my principal influences and aesthetic biases; 2. A portrait outlining the connections of influence among the instrument-builder, composer and performer; 3. A discussion of relationships outside the creative process itself, that is to say the influence of other artists (composers, musicians, other instruments) in my approach to research creation; 4. A demonstration of how I use the influences of other composers, other musicians and even other artists whose works speak to and inspire me; and 5. A presentation of three concrete examples from the portfolio realized during my doctoral research The body of work submitted includes: three new instruments, two sound installations,four compositions and three comprovisations.
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Evans, Eleri Ann. "Extending techniques : developing the saxophone's capacity for lower-end dynamics and microtonal playing". Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31099/.
Testo completoAbstract (sommario):
Adolphe Sax believed his invention, the saxophone, was the link between louder and quieter instruments. Changes to the instrument and to playing techniques have lessened the saxophone’s ability to play quietly, and subtone techniques are now utilized for playing at lower-end dynamics. This PhD proposes a new method for playing the saxophone at lower-end dynamic levels. This method uses breath control to allow lower-end dynamic playing on the saxophone. The new method has been tested through its use in different musical compositions and in combination with different extended techniques. The new method for playing the saxophone at lower-end dynamic levels has been found to have greater applicability than existing techniques and is demonstrated in numerous recordings that accompany this work. Prominent saxophonists have said that the saxophone is not able to play notes between the semitones. Modifications to the saxophone keywork mechanisms have made some microtones possible whilst prohibiting others. Existing saxophone literature has documented quarter-tone scales but has been slow to expand further microtonal possibilities. This research has developed and proposed new models and new techniques for microtonal saxophone playing. This has been demonstrated on different saxophones, including those with distinct keywork mechanisms. The numerous fingering patterns that have resulted from this work are documented in the appendices. The microtonality that results from using extended techniques, slap-tonguing and key percussion, has also been documented. Recordings of the new models for microtonal saxophone playing accompany this research. The use of microtonal saxophone playing has been discussed in relation to different compositions. The research documented here is of relevance to saxophonists and composers who wish to play or use such techniques.
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Chong, Kee Yong. "Multi-layered ethnic and cultural influences in my musical compositions". Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/31091/.
Testo completoAbstract (sommario):
In this doctoral thesis, I examine the influence of multi-ethnic cultures and heritage of East and Southeast Asia on my compositional development. Although the imitation of the outward features of other cultures is an important part of the attempt to compose cross-cultural pieces, such imitation is only one part of the learning process. The most difficult task is to make a meaningful cultural confluence out of these influences. My original contribution to music lies in the way in which I have activated the legacy of my multicultural Malaysian heritage and combined a strong focus on Chinese cultural traditions with a wider Malaysian context that involves theatre, philosophy, rituals, and spirituality. Over the past few years, I have composed cross-cultural works for traditional East and Southeast Asian and Western instruments, collaborating with multiple musicians in Asia, the United States, and Europe. The compositions discussed in this thesis reveal the various elements of my writing for Chinese instruments that are at once original and eclectic. I am particularly interested in incorporating various East and Southeast Asian musical practices such as Chinese dialect folk songs (especially Hakka storytelling and mountain songs), Gamelan music from South East Asia, Indian ritual and ceremonial music, ancient Chinese court music, and chanting of classical Chinese poetry, Korean Pansori music, and Japanese Gagaku music to create my own compositional techniques and languages. Using my compositions as examples, I illustrate the incorporation of East and Southeast Asian vocal and instrumental techniques into Western musical languages. In the first two chapters, I focus more on the importance of Chinese sources of poetry and philosophical thinking in a number of large-scale works. In the third chapter, I examine the key compositional roles played by elements such as sonic mobility and spatialisation, the interplay and interchange of roles in instrumental writing, and the concept of “living ornamentation” in creating heterophony and vocalisation, and present a detailed analysis of one of my works Yuan-Liu (2009). I explain how sonic mobility and spatialisation, as realised through unique instrumental setups in my compositions, are deeply informed by my childhood experience of listening to the acoustics of nature in the woods. In the concluding chapter, I discuss how I use the concepts of time, narrative, and cultural confluence in my music.
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Irwin, Mark Stewart. "Teaching the way we learnt : a study in popular music education". Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/59666/.
Testo completoAbstract (sommario):
Popular music education in the UK, and worldwide, has seen a significant expansion in the last two decades. As this new subject matures, scholars are beginning to fashion a new and more student-centred approach to learning and teaching: drawing on the informal learning practice found in popular music. Green (2006) defined the key characteristics of informal learning: allowing learners to choose the music; learning by listening and copying recordings; learning in friendship groups, with minimum adult guidance; learning in personal, often-haphazard ways; and integrating listening, playing, singing, improvising and composing. Informal musical learning is also facilitated through the use of recording as a technique for reflecting on, and improving one's own performance. These novel approaches to music education have begun to be applied by music educators, in a diverse range of contexts. Karlsen (2010) has correspondingly linked informal learning with ideas of authenticity, and communities of practice: social networks that provide individuals with access to learning through interaction with experienced ‘old-timers' as described by Lave and Wenger (1991). This thesis examines the way that seven musicians, teaching in one private UK Higher Education popular music institution, learnt their craft: firstly as musicians and subsequently as teachers. It asks how the way that these individuals acquired their skills and beliefs might impact on the way that they teach their students, and if this impact might be more effective if teachers were encouraged to reflect on their own learning, using that reflection to research, inform, and modify their own teaching practice. This work is particularly situated in small and medium size group teaching rather than the one to one teaching model found in classical music programmes, or in peripatetic music teaching. Furthermore, my work takes a structural-constructivist approach using the ideas of Bourdieu (1977, 1990a, 1993) as a theoretical lens, and drawing on the constructivist learning theory developed from the principles established by Vygotsky in the 1920's and 1930's (1930/1978).1 I argue that a hybrid approach to Bourdieu's notion of habitus (1990a, p.53) or the dispositions we adopt to the social world is crucial to understanding the way that we become musicians. Moreover, that the situatedness of musical and educational practice and the identity practices of learners and teachers are fundamental to the process of learning as a process of becoming (Lave and Wenger, 1991). Ergo, by recognising this process of learning as situated in social, cultural, historical, and technological contexts we may also facilitate metacognition (Flavell, 1979). By metacognition, I mean the ability to be reflexive2 as a learner or teacher; understanding the way that learning works, our beliefs about learning, and how those beliefs affect one's own learning and thus agency. Additionally, that notions of authenticity and creativity are vital to the effectiveness of musical learning practices, and the accumulation of social and cultural capital for popular musicians. My research methods include the use of open ‘semi structured' interviews (Leech, 2002) alongside observation in the classroom3 to generate empirical data. The primary research presented here is an Action Research Study: enabling the teachers in the study to retrieve their own experience of informal learning in order to facilitate informal learning practice in the music classroom. I suggest that these individuals recognise the importance of their own experience and are able to utilise, and learn from those experiences in developing approaches that are relevant, creative, and also authentic to their students. What this work also aims to do is establish links between theory and practice, and to identify potential mechanisms for engaging with our students' entire learning experience, whilst allowing them to understand the social and cultural process of musical learning. 1 This text is a collection of Vygotsky's work originally published in the 1920's and 1930's. 2 Reflexivity is a word used in sociology to describe how much agents are able to recognise the forces of social structure and therefore affect agency. 3 By classroom teaching, I mean small group (10-20 students) and exceptionally, larger group (40-60) teaching, as is the model for delivery at my institution.
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Gardner, 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/.
Testo completoAbstract (sommario):
The interaction between musicians has been one of the traditional strengths of music: it stretches to include an audience and ritual participants but has its origins in group activity, the interpersonal responses of one musician to another. This thesis examines the way that electronic media have transformed the interactions between musicians, particularly in the context of live performance. A central theme is the way in which mediatisation creates new splits within previously integrated musical situations and also merges differences usually defined by physical boundaries. The theories of Gregory Bateson on schizophrenia and Irving Goffman on Situationism are brought together to create a new understanding of the term "schizophonia". This rehabilitated concept is proposed as the key to a creative exploration of new situations and discontinuities which make up group performance in a mediatised environment. In practical terms the exploration of new musical situations is documented in the following projects: the material created for the group "Automatic Writing Circle" during its evolution over a period of six years (compositions, software, instruments), development of the Ouija Board and accompanying software, composition of the piece Lipsync and the earlier piece I slept by numbers for flute and live electronics.
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Anderson, Elizabeth L. "Materials, meaning and metaphor : unveiling spatio-temporal pertinences in acousmatic music". Thesis, City University London, 2011. http://openaccess.city.ac.uk/3530/.
Testo completoAbstract (sommario):
This dissertation addresses two topics. The first is a preliminary investigation into the listening strategies for electroacoustic music by François Delalande. A listening experiment was undertaken to test Delalande’s strategies and to learn from listeners’ responses in order to apply them to compositional practice. This process prompted the conception of a new, integrated reception behaviour framework for electroacoustic music that comprises four listening strategies: sonic properties, structural attributes, self-orientation, and imaginary realms. The second topic is the poietico-esthesic analysis of the folio of acousmatic compositions from the perspective of the reception behaviours framework. The intention of the reception behaviours framework is to illuminate those sounds and structures in electroacoustic music that could be perceived as carriers of meaning. The analysis of the acousmatic compositions in the portfolio, from the perspective of the reception behaviours framework, aims to illustrate how the acousmatic composer can attempt to create meaning in an acousmatic work. While space is observed as the common denominator in the reception behaviours framework from an esthesic perspective, space and time are proposed as common denominators that carry all poietic intention. Hence, space and time can be seen as universal carriers through which meaning can subsequently be conveyed and perceived.
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Fallowfield, Ellen. "Cello map : a handbook of Cello technique for performers and composers". Thesis, University of Birmingham, 2010. http://etheses.bham.ac.uk//id/eprint/960/.
Testo completoAbstract (sommario):
Many new sounds and new instrumental techniques have been introduced into music literature since 1950. The popular approach to support developments in modern instrumental technique is the catalogue or notation guide, which has led to isolated special effects. Several authors of handbooks of technique have pointed to an alternative, strategic, scientific approach to technique as an ideological ideal. I have adopted this approach more fully than before and applied it to the cello for the first time. This handbook provides a structure for further research. In this handbook, new techniques are presented alongside traditional methods and a ‘global technique’ is defined, within which every possible sound-modifying action is considered as a continuous scale, upon which as yet undiscovered techniques can also be slotted. The ‘map’ of the title is meant in the scientific sense of the word; connections are made between: ‘actions that a cellist makes’ and ‘sounds that a cello can produce’. In some cases, where existing scientific theory is insufficient to back up these connections, original empirical research has been undertaken and areas for further research have been suggested. Within this system there are no special effects, rather a continuum of actions with a clear relationship to sound.
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Elia, Marios Joannou. "Portfolio of compositions with accompanying commentary". Thesis, University of Southampton, 2010. https://eprints.soton.ac.uk/367394/.
Testo completoAbstract (sommario):
The commentary focuses on the predominantly applied extraneous media in my music, that is, the inclusion of literary sources. The discourse begins with a biographical sketch (Chapter 1), followed by a succinct description of the concept of polymediality, which involves two dimensions: the work-immanent compositional and polymediality on the process of staging (Chapter 2). Chapter 3 considers literary sources as a constituent component of music's polymediality. The first part is preoccupied with the implementation of textual elements and vocality in instrumental works, with special reference to the orchestral piece AKANTHAI. Simultaneously, this section elucidates a series of fundamental architectural tools and aspects of the music, encompassing (a) the methodological advancement concerning analogous relationships, (b) the processing of linear transitions and polyphonic settings depending on the model of imitative interaction, (c) the polydimensional articulation of homogeneity, (d) the aspect of permanent fleetingness, (e) the different facets of hybridization and their implications, (f) the question of the musico-literary intermediality form, and (g) the concept of polyaesthetics. To this extent, the commentary reports on a research aiming at elaborating the hypothesis that musical and non-musical elements, like the literary sources, are mustered from a diversified spectrum of coherent principles. Turning to the example of the opera entitled DIE JAGD, the second part of Chapter 3 is concerned with the situative conditions resulting from the abrupt omission of the relationship to the libretto, whereby the focus is displaced 'outside' the textual frame of reference. Chapter 4 briefly highlights the scope of three further text-related parameters of the music in conjunction with their aesthetic issues: the specified titles of the works, the delineated expressive nuances, as well as the descriptive commentaries and textual depictions found on the score. Furthermore, the chapter outlines the consequences of two-dimensional theatricality and meta-theatricality. In conclusion, the commentary argues that the compositional procedure adopts literary references for the benefit of creating self-generated concepts. In other words, constituted within a plethora of musical and extra-musical elements, texts function as energetic catalytic stimuli; they become the key mechanism to enhance interactive system performance amidst the music's structural-strategic and conceptual framework.
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Ilzetzki, Ophir N. "Composition portfolio & written commentary". Thesis, University of Southampton, 2012. https://eprints.soton.ac.uk/367321/.
Testo completoAbstract (sommario):
Interpreting a scored musical composition entails the composer’s relinquishing some control over the piece to the performer. In ‘open’ scores the composer relinquishes most control and in effect allows the performer to collaborate in the compositional process; in traditional scores the composer specifies as much as possible in order to leave little to no room for the performer to use personal judgment regarding interpretation. The principal focus of this portfolio will be to examine, through different scores and compositional techniques, a possible available spectrum between these two types of scores and to define more clearly different options presenting varying degrees of control over a score. The initial stimulus for this research stems from a fascination with alternative compositional scenarios that consequentially aid the creation of incidental musical materials that are not specified or scored. These moments resemble an improvisation in their immediacy of execution and erratic sound characteristics. Hence, it is this quality that many of the ‘open’ elements in these portfolio pieces try to extract, but not exclusively so. The thesis will also dwell on elements of performance psychology in attempts to better define the mechanisms at work in different interpretation/improvisation scenarios, as well as refer to non-classical musical traditions as an example of alternative didactic systems leading towards a non-score based, quasiimprovisational practice. Finally, each portfolio composition will be described in detail with a particular emphasis on its erratic sound-qualities, its ‘open’ element, or both.
Libri sul tema "MT Musical instruction and study"
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Musical children: Engaging children in musical experiences. Upper Saddle River: Prentice Hall, 2010.
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2
Carlos, Gallardo. Educación musical "Método Kodály". Valladolid: Castilla, 1994.
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3
Congreso Nacional de Educación Musical (1st 1986 Santiago, Chile). La educación musical hoy. [Santiago]: Universidad Metropolitana de Ciencias de la Educación, 1986.
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Nikolova, Emilii͡a Stefanova. Bulgarian musical folklore for children and musical education in kindergarten. Sofia: Interpress'67, 1990.
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Kuzmich, Natalie. Musical growth: A process of involvement. Toronto: G. V. Thomson Music, 1986.
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Mayans, Pío Tur. Reflexiones sobre educación musical: Historia del pensamiento filósofico musical. Barcelona: Universitat de Barcelona Publicacions, 1992.
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Flohr, John W. Musical lives of young children. Upper Saddle River, NJ: Pearson/Prentice Hall, 2005.
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Feltenberger, Myles. Mr. Everybody's musical apartment. Oak Lawn, IL: Myles Music Corp., 1993.
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Bostley, Edward J. Musical development for the classroom teacher. Dubuque, Iowa: Kendall/Hunt Pub. Co., 1992.
Cerca il testo completoCapitoli di libri sul tema "MT Musical instruction and study"
1
Atslēga, Dana, e Līga Enģele. "Mūzikas terapija sociālo prasmju veicināšanai pusaudžiem no sociālo risku ģimenēm". In Mūzikas terapija II : pētniecība, pieredze, prakse, atmiņas: zinātnisko rakstu krājums, 97–109. LiePA, 2021. http://dx.doi.org/10.37384/mt.2021.097.
Testo completoAbstract (sommario):
A lack of social skills makes it very difficult for people to function and stay social, this is particularly the case with teenagers, where social networking is an important function for self-development and building up ones’ personality, as well as building a social group in order to fell affiliation. The study summarized various studies and their results on social skills and social networking as well as the impact of social risk families on the social networking process of teenagers. Also, a collection of different music therapy studies and sources for promoting social skills for teenagers from social risk families is evaluated. The selection consisted of the teens living in the crisis center from social risk families, who have received the referral of the social service of Rīga municipality or Jūrmala municipality. The amount of the selection that participated in 12 musical therapy sessions consisted of 59 teens aged 11 to 15 years. The results show that the musical therapy promotes social skills for teens from families of social risks.
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Rolle-Kupliņa, Evija, e Mirdza Paipare. "Ritmiskās sinhronitātes ietekme uz stresu un imunitāti bērnu ar invaliditāti vecākiem". In Mūzikas terapija II : pētniecība, pieredze, prakse, atmiņas: zinātnisko rakstu krājums, 110–32. LiePA, 2021. http://dx.doi.org/10.37384/mt.2021.110.
Testo completoAbstract (sommario):
Parents of children with special needs suffer from depression and anxiety disorder, as well as chronic insomnia and stress, this is confirmed by the presence of elevated cortisol levels and reduced immunity. In music therapy, rhythmic music and synchronization, especially music with drums, is used as a therapeutic activity capable of influencing mood improvement, stress reduction and relaxation in a therapeutic context, as it can fit into and adapt to many rhythmic complex and coherent ranges in the real world. This is unifying, creating a sense of security and belonging, allows music to be a facilitator of communicative and social interaction processes. The study uses Perceived Stress Scale (PSS), Cohen, et al., 1983), Improvisation Assessment Profile (IAP), Bruscia, 1987, Natural killer (NK) cell blood analysis, stress (cortisol) saliva analysis. The results of the study showed statistically a significant decrease in psychological and physiological stress patterns, improvements in immunity, interpersonal processes as well as intra-musical synchronization between the first and the tenth sessions.
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Dorfman, Jay. "Models of Music Pedagogy and Their Influences on Technology-Based Music Instruction". In Theory and Practice of Technology-Based Music Instruction. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199795581.003.0005.
Testo completoAbstract (sommario):
Pedagogical approaches to teaching music have developed into mature curricular structures. The most prominent music pedagogies have features in common that can inform the new pedagogy of TBMI, and we should learn from the success of these approaches as we develop technology-based methods that will lead students to musical ends. In the section that follows, I will briefly summarize some of the major pedagogical approaches that are in use in today’s music classrooms. Then, I will offer lessons that we can learn from examining traditional music teaching that apply to the development of the TBMI approach. Saliba (1991) described the Orff-Schulwerk approach to music education as “pedagogy to organize elements of music for children through speaking, singing, playing, and dancing” (p. vii). This approach, which dates to early 19th-century Germany, combines basic musical elements into small forms such as songs and patterns in order to make musical material manageable for young children (Saliba, 1991). Carl Orff ’s approach to music education was based on his personal experiences and his belief that integrating music and movement was fundamental to music learning processes (Frazee & Kreuter, 1987; Frazee, 2006). Performing, listening, improvising, and analyzing music are all characteristic activities of Orff -Schulwerk music lessons. An important trait of this approach is its emphasis on children feeling musical elements (through active experience) prior to conceptualizing their understanding of the elements. Other distinguishing characteristics of the Orff pedagogy include the use of ostinati as accompaniment for singing and movement at varying levels of complexity and the use of simple instruments as a means for children’s immediate expression (Wheeler & Raebeck, 1977). Creativity is central to the original Orff-Schulwerk model of music pedagogy, as is the teacher’s role in facilitating that creativity. “[Orff ’s] instructional plan includes provisions for several kinds of original work. . . . The teacher should be prepared to help children notate their musical ideas, evaluate the music they produce, and relate their creative eff orts to the study of musical form and style” (Landis & Carder, 1990, p. 110).
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Schulenberg, David. "Bach the Teacher". In Bach, 284–331. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190936303.003.0013.
Testo completoAbstract (sommario):
This chapter examines the works of Bach’s later years, including several published collections, in the context of his teaching. The latter, considered in its broadest sense, included not only instruction in the St. Thomas School but private lessons and mentorship for university students and younger professional musicians. To these activities Bach added the revision and publication of compositions that could serve as examples for study and emulation. Among the latter are the four volumes of Clavierübung, including the harpsichord partitas, Italian Concerto, and Goldberg Variations; the Schemelli Chorales and Canonic Variations for organ; and the Musical Offering and Art of Fugue. Also instructive, in a profound sense, are the great vocal works of these years: the passions, oratorios, and Latin church music, including the B-Minor Mass.
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Parr, Sean M. "The New Franco-Italian School of Singing". In Vocal Virtuosity, 28–58. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197542644.003.0002.
Testo completoAbstract (sommario):
The nineteenth-century web of teachers, singers, and teacher-singers suggests that coloratura can be examined from the perspective of treatises produced by vocal pedagogues. In addition to vocal instruction, the treatises provide clues as to interpretation, by recommending and describing vocal articulations and styles corresponding to melodic styles and role characterizations. This chapter examines pedagogical treatises in conjunction with musical scores and the careers of individual singers, attempting to trace ideas of coloratura articulation and florid-lyrical expression. The Paris Conservatoire endorsed certain teacher-singer lineages and sought to merge French and Italian traditions into a new school of singing led by three pedagogues: Laure Cinti-Damoreau, Gilbert-Louis Duprez, and Manuel Garcia II. The study reveals a bifurcation between singing styles that carries over from vocal pedagogy to the operatic stage. This division between agile, florid singing and declamatory, sustained singing heralded our modern, more familiar vocal categories, such as the coloratura soprano.
Atti di convegni sul tema "MT Musical instruction and study"
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Lou, Shi-Jer, Yi-Zhen Zhu, Kuo-Hung Tseng, Yuan-Chang Guo e Ru-Chu Shih. "A Study of Computer-Assisted Instruction on Music Appreciation: An Example of Chinese Musical Instruments". In 2009 Ninth IEEE International Conference on Advanced Learning Technologies (ICALT). IEEE, 2009. http://dx.doi.org/10.1109/icalt.2009.62.
Testo completo