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Rozprawy doktorskie na temat „Musicians”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 25 lipca 2025

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1

Pang, Ming-wai, and 彭明慧. "Tonal and segmental perception in native Cantonese-speaking musicians, amateur musicians and non-musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206684.

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Tone matching, judgment and segmental judgment tasks conducted in silent reading and listening conditions are devised to test the hypothesis that musical training improves tone and segmental (onset, rime) perception in a tone language, Cantonese, in native Cantonese-speaking individuals. Four-word sequences (in which two words are primes and two are targets, or three words are primes and one is target) were presented to three groups of participants: professional musicians, amateur musicians and non-musicians in the silent reading condition, whereas four sound stimuli of Chinese characters were
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Renfrew, Mary Claire. "Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.

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The lived experiences of professional orchestral musicians are under-­‐researched by scholars in both music and psychology, who are interested in the world of the professional orchestra and the careers of classical musicians. Framed within a Social Constructionist paradigm, the research in this thesis is concerned with investigating the subjective meanings and individual experiences of a group of ten classical orchestral musicians. Interpretative Phenomenological Analysis was the methodological framework chosen to design and analyse a set of open-­‐ ended interviews with the musicians, which a
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3

Hakvoort, Laurien G. "Piano-improvisation skills of musicians versus non-musicians : implications for music therapy." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2265.

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The purpose of this study was to examine the improvisation skills of musicians and non-musicians. Fifteen musicians and 13 non-musicians completed a pre- and post-performance questionnaire and played a free improvisation on the piano. The free improvisations were rated by three independent observers using the Music Improvisation Rating scale, and the responses on the questionnaires were tabulated. Results showed no difference between musicians and non-musicians for duration, expectation, self-reported interaction and satisfaction. There was, however, a statistically significant difference for
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Grieshaber, Kate. "Polymetric performance by musicians /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11345.

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Robinson, Tim. "How popular musicians teach." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/1219/.

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The present study asks how musicians who have learned outside the classical tradition teach others to play. A group of eight instrumental teachers were studied, all of whom grew up playing ‘popular', vernacular styles of music. While most of them had at least some experience of being taught classical music, they spent their formative years committed to largely self-directed learning, acquiring the skills they needed in order to play the styles that appealed to them at the time: namely rock, blues, jazz or folk. The teachers were interviewed about their learning histories and their teaching pra
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Tolmie, Diana Maree. "My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370346.

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For the last two decades, the discourse surrounding the education of the professional musician has increased as traditional forms of music employment become more competitive and the portfolio career has returned as an accepted mode of working for musicians. Criticism of the nineteenth-century conservatoire model, which in turn has led to the recommendation to embed an employability focus within degree programs that fosters the development of industry-prepared musicians. To date, however, there are few successful examples of this. This study investigates the design, development and delivery of
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7

Schneider, Peter. "Source activity and tonotopic organization of the auditory cortex in musicians and non-musicians." [S.l.] : [s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=961907436.

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Wood-Gaines, Adam Matthew. "Modelling expressive movement of musicians." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24274.pdf.

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吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.

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Bayton, Mavis. "How women become rock musicians." Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/34719/.

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This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdl
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11

Nelson, Katie M. "Thomas Whythorne and Tudor musicians." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/36853/.

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The autobiography of Tudor musician Thomas Whythorne (1528-1596) is rich with self-exploration, social commentary and intimate storytelling. His story begins at childhood, then progresses chronologically as he gains an education, becomes a music master, and rubs shoulders with some of the most prominent people in England. This rich historical source has been strangely neglected, particularly by social historians, since its discovery in 1955. No one in any discipline has so far attempted an overall assessment of Whythorne the man, his work, and his significance. This is my aim. Working outwards
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12

Marshall, Anne Jessamine. "Perspectives about musicians' performance anxiety." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23579.

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The aim of the study was to explore the sources concerning musical perspectives about performance anxiety and their influence on musicians. Since this study is a review of the available literature on this topic, I used mainly books, articles and reported case studies. The problems encountered while writing this dissertation were the lack of material available on the subject of using music to deal with musicians who suffer from performance anxiety. Musicians listen to music differently from non-musicians, and therefore, when using music to deal with their performance anxiety, a different approa
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13

Ross, Larry. "Jazz musicians in the diaspora /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946292.

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14

Robertson, Alexandra Leigh. "Hemispheric asymmetry of usage-dependant plasticity in the motor cortex of musicians and non-musicians /." Title page and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09SBS/09sbsr6491.pdf.

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Baker, Geoffrey. "Music and musicians in colonial Cuzco." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268415.

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16

Lloyd, Thomas. "Do musicians dream of electric violins?" Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/do-musicians-dream-of-electric-violins(10848ad8-7e42-40e3-9131-762ea607ea91).html.

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Yes. While the results presented in this thesis declare that listeners prefer the recording of an acoustic instrument, there is still a positive response about virtual violins, especially when compared to an unfiltered electric instrument. In this context a virtual violin is the result of convolving the raw signal from an electric instrument with the impulse from a real violin. A key part of this process is the characterisation of this impulse response, of which there are several methods. This thesis explores the use of virtual violins in acoustics research and music performance. The opening c
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17

Swart, Inette. "The influence of trauma on musicians." Thesis, University of Pretoria, 2010. http://hdl.handle.net/2263/24870.

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The aim of this study was to shed light on the influence of trauma on aspects of musicians’ music-making, particularly but not exclusively limited to its effects on emotional expression and memory during music performance and study. Effects on performers and teachers were considered, explicated and discussed in the light of the rapidly expanding body of knowledge about factors involved in psychological sequelae following exposure to traumatic event(s). Examples are given of how trauma has affected famous musicians and composers. Questionnaires sent to healthcare professionals and music teacher
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18

Kan, Anna. "Undergrounded : Leningrad rock musicians, 1972-86." Thesis, University of Bristol, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738196.

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19

Sutton, Matthew Daniel. "Storyville: Discourses in Southern Musicians' Autobiographies." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539623346.

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This study utilizes many of the tools of the literary critic to identify and analyze the discursive conventions in autobiographies by American vernacular musicians who came of age in the American South during the era of enforced racial segregation. Through this textual analysis, we can appreciate this seemingly amorphous collection of books as a continuing conversation, where descriptions of the South and its music by turns confirm, contradict, and complicate each other. Ultimately, the dozens of southern musician autobiographies published in the last fifty years engage in a valuable and revea
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20

Barbeau, Audrey-Kristel. "Performance anxiety inventory for musicians (PerfAIM): a new questionnaire to assess music performance anxiety in popular musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104539.

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The goal of this research project was to develop and validate a new measure that establishes the extent to which highly stressful performance situations affect self-perceived levels of Music Performance Anxiety (MPA) in popular musicians. The Performance Anxiety Inventory for Musicians (PerfAIM), a self-report measure demonstrating appropriate psychometric properties, was developed. The specific objectives of this research project were to estimate the validity of the questionnaire and to assess its reliability. Content validity and face validity were established using focus groups and intervi
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Dufour, Valérie. "Stravinski et les exégètes: positions critiques et stratégies discursives, 1910-1940." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211125.

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Alghamdi, Jamaan Salem. "A multi-modal investigation of structural and functional neural bases of pitch discrimination in musicians and non-musicians." Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569115.

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Musicians represent an ideal model for understanding experience-driven neuroplasticity in the human brain, especially in auditory and motor domains. Musicians exert intensive and durable practice of various multimodal skills (e.g., motor, auditory, visual and memory). It has been reported that certain regions of the adult musicians' brains are structurally larger than non- musicians. Also musicians demonstrate more sensitive pitch discrimination abilities compared to non-musicians because pitch labelling plays an important role in music. Music is made of a highly structured and complex success
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Lund, Monique Anne. "Performance of musicians and non-musicians, on a battery of audiological central auditory processing tests : a comparative study." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/3420.

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Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.

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Thesis (D.M.A.)--University of Oregon, 2002.<br>Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.
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Talbert, Matthew D. "Adult amateur musicians and melodic error detection." Thesis, University of South Carolina, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561877.

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<p> The purpose of this study was to examine influences on melodic error detection ability of adult amateur musicians; specifically, listening-condition, age, and years of experience. Following are the specific research questions of this study: 1) Are there differences in error detection with regard to listening condition? 2) What are the relationships between age and years of experience on error detection ability? 3) What are participants' perceptions of melodic error detection thought processes? </p><p> Participants (N=33) met with the investigator individually to complete a melodic error
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Rodger, Matthew William MacDonald. "Musicians' body movements in musical skill acquisition." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527950.

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Howard, Robert Andrew. "PhD in composition : mainly for amateur musicians." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412916.

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Munro, Gordon James. "Scottish church music and musicians, 1500-1700." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.

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Capell, Jacquelin. "Playing related musculoskeletal disorders in instrumental musicians." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/16154.

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Austin, Tara Ashley. "Stress and Anxiety Interventions for Classical Musicians." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7248.

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This meta analysis looks at the results of performance anxiety related interventions with musicians. This meta analysis results from all found studies on computerized databases including National Library of Medicine's PubMed, dissertations and Theses (ProQuest), PsycINFO, and Oxford Journals Database. They range from cognitive interventions, behavioral interventions, mediation, and biofeedback. The results are primarily drawn from participant<'>s self report before and after the intervention. They were coded for length of intervention, number of participants, level of participant (students or
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31

Talamini, F. "The memory skills of musicians and nonmusicians." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3426847.

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Musicians seem to have superior abilities than those of nonmusicians, that are not just music-related but that extend to classic auditory and even cognitive tasks, in particular memory tasks. However, concerning memory, results tend to vary depending on the memory system investigated (i.e., long-term, short-term, working memory) and on the category of stimuli that are presented (e.g., verbal, visuospatial). The present research project investigated the memory skills of musicians and nonmusicians, with the final goal of clarifying which (if there are some) characteristics of musicians are lin
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DAVANZO, NICOLA. "ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS FOR QUADRIPLEGIC MUSICIANS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/920339.

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This thesis explores a particular research topic in the field of Sound and Music Computing, dedicated to the creation of Accessible Digital Musical Instruments (ADMIs) designed for users affected by quadriplegia or similar motor impairments. With such conditions an user is completely paralyzed from the neck down. The impossibility to control the upper and lower limbs, particularly fingers, makes it impossible for such users to play conventional musical instruments, both acoustic and digital. This makes it necessary to introduce specific and non-trivial design and development solutions. A fir
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Schmidt, Brian Matthew. "Pyschometric Evaluation of the Musculoskeletal Pain Questionnaire for Musicians and the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians." Thesis, North Dakota State University, 2017. https://hdl.handle.net/10365/28398.

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There is currently no standard method to measure the incidence and prevalence of musculoskeletal injury among musicians. The purpose of this study was to evaluate the validity and reliability for the Musculoskeletal Pain Questionnaire for Musicians (MPQM) and the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM) in collegiate musicians. Participants completed a packet containing the MPQM and MPIIQM, with two baseline instruments (SF-36 and QuickDASH). Convergent validity was evaluated using a correlation between the scores of the baseline instruments and the
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Jordan, Catherine. "Exploring a possible tonal loop in musicians and non-musicians and the relationship between musical expertise and cognitive ageing." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31077.

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This thesis explored two main research questions, firstly investigating whether musical expertise offers a performance advantage in working memory for sequences of tones that vary in pitch, and secondly whether any advantage of musical expertise may be present in older as well as younger individuals. Previous research on working memory for tone sequences has reported that articulatory suppression interferes with temporary storage of verbal but not with tone sequences (Koelsch et al, 2009), suggesting a “tonal loop” within a musician’s working memory (Schulze, Zysset, Mueller, Friederici, & Koe
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Gioanni, Florence. "La société aristocratique française du XVIème siècle et la musique le cas de Marguerite de Valois (1553-1615) /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1996. http://books.google.com/books?id=5DizAAAAIAAJ.

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Bennett, Dawn Elizabeth. "Classical instrumental musicians : educating for sustainable professional practice." University of Western Australia. School of Music, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0002.

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[Truncated abstract] This study extends understanding of the careers of classical instrumental musicians within the cultural industries, and ascertains the extent to which professional practice is reflected within current classical performance-based music education and training. Little is known about the careers of classically trained instrumental musicians in terms of the activities in which they engage and the skills and attributes used to sustain their professional practice, and there is also widespread lack of understanding about the music industry and the wider cultural industries. The ex
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Fulford, Robert James. "Interactive performance for musicians with a hearing impairment." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/400/.

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How can we perceive music if we cannot hear it properly? The achievements of deaf musicians suggest it is possible not only to perceive music, but to perform with other musicians. Yet very little research exists to explain how this is possible. This thesis addresses this problem and explores the premise that vibrations felt on the skin may facilitate interactive music making. An initial interview study found that, while vibrations are sometimes perceived, it is predominantly the use of visual and physical cues that are relied upon in group performance to help stay in time and in tune with othe
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Edmonson, Jordan. "Predictors of Music Performance Anxiety in Adolescent Musicians." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011842/.

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Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter,
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Kuntz, Tammy L. "Self-Reported Personal Traits of Adult Amateur Musicians." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1342724153.

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Olding, Christine Jane. "Composing Processes of Musicians: A Case Study Approach." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1572872308873529.

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Fleet, Emma. "Warm-ups for Musicians: Systematized and Terminology Reviews." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41615.

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Context: Many musicians experience playing-related pain and injuries. One of the recommended injury prevention strategies is to warm-up prior to playing a musical instrument. However, this recommendation is not always supported with empirical data. Additionally, multiple terms are used to describe warm-ups and may differ between authors, creating confusion around this injury prevention strategy. Objectives: The objectives of this thesis are to search for evidence-based studies that would support the benefit of warm-ups for musicians, reduce the confusion around musicians’ warm-ups, and bring
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Kylmänen, Ester, and Emma Tysk. "Online networking and real-time interaction for musicians." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446815.

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Despite the many technological advancements made in the music industry in recent years, there is still not a single widely adopted platform for musicians to play music together online. In 2020, the Covid-19 pandemic and the subsequent quarantine pushed the need for such a platform into the spotlight. As a response, the music company Elk Audio launched their new product: Aloha. Aloha is a combined hardware and web application that allows musicians to play music in real-time over the Internet. Aloha is currently only intended for musicians who already know each other to connect and play. However
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Karlen, Rebecca. "Transitioning instrument and genres: Improvising my way through impostor syndrome." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/415310.

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The concept of lifelong learning and the ways in which this learning takes place are of key importance for both students and professional musicians. Musicians in the 21st century need a broad and rapidly adaptable set of skills with which to build and sustain their careers, as substantial research shows that most musicians work within multiple roles that change according to their personal and professional needs. In order to forge new opportunities, musicians are often required to look beyond their initial training and experience to transition to new instruments and genres. There is limited res
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Hayes, Eileen M. "Black women performers of women-identified music : "they cut off my voice, I grew two voices" /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10623.

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Kiukas, Tobias. "Musicians dealing with the consequences of COVID-19 : A study on how musicians have adjusted to work in a socially distanced society." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-36126.

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The COVID-19 pandemic shook the entire world at the start of 2020, causing aglobal social and economic disruption. This was especially true for those workingwith large groups of people in places like movie theaters, airplanes and live musicvenues. This qualitative study seeks to explain what kind of professional livesmusicians have had to develop during the coronavirus pandemic through emailinterviews. The research relates to the theory of habitus and field. It also relates totheory of strategies and tactics. The focus will be on how musicians from Sweden,Finland and the United States have adj
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au, S. Beltman@curtin edu, and Susan Beltman. "Motivation of high-achieving athletes and musicians: A person-context perspective." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050728.140548.

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This research explores how motivation is shaped at the interface of person and context, with a focus on motivation in sport and music. From a social cognitive perspective, motivation research traditionally focuses on factors within the individual, whereas a more situated conceptualisation requires that motivation be studied within a person in context perspective. This study combines elements of both perspectives. It is proposed that motivation is shaped at the interface of person and context, where individuals make appraisals of social (other people) and structural (physical or organisation
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Van, Heerden Estelle Marié. "Influences of music education on the forming process of musical identities in South Africa." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08252008-144731/.

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Denson, Marjorie Louise. "Music from the Margins: An Autoethnographic Study of the Development of a Jazz Composer’s Voice." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366579.

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This is a multi-modal, authoethnographic study which examines the development of my voice as a composer. It consists of a folio of music scores, two CD recordings, and an exegesis. The principal question of how my musical identity has been shaped by my experiences as a jazz practitioner has been examined through composing music, personal writing and reflection, and an examination of relevant literature. The compositions reveal the main influences in my musical identity - jazz, western art music and Latin music, as well as their connection to the places which have inspired their creation. They
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Klypchak, Bradley C. "Performed Identities: Heavy Metal Musicians Between 1984 and 1991." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1167924395.

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Hatlevik, Espen. "Are Musicians Affected by Room Acoustics in Rehearsal Rooms?" Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for elektronikk og telekommunikasjon, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-18839.

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This study has investigated to what extent musicians adjust their source levels to different music rehearsal rooms. In the experiment, six amateur musicians were to perform the same song i four different rehearsal rooms, by first singing, then by playing guitar and last by combining singing with guitar playing. All sound sources were recorded and analyzed. The results shows that the average musician adjusts his source levels to the rehearsal room and that most of the adjustments are made in the guitar playing. Looking at the individual musician there are some that do not show any signs as to b
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