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1
Boniface, Emma Jane. „Promoting sociability : staff perceptions of music therapy as a way to enhance social skills : a project presented in partial fulfilment of the requirements for the degree of Master of Music in Music Therapy, New Zealand School of Music, Wellington, New Zealand“. Massey University, 2009. http://hdl.handle.net/10179/1172.
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This thesis is the result of working with nine students and one teacher aide in group music therapy in special education. Through opportunities to learn about music and sound, the students were invited to use descriptive language to express emotions and thoughts about their music therapy experience. This research used a qualitative research design, where the purpose was to learn about the perceptions that staff may have of music therapy and to highlight how music therapy can promote sociability in an educative setting. The data collected mainly through research journal entries and two interviews (as well as material from a discussion group) offer evidence about how improvisational group music therapy can help create a positive social environment in the classroom and complement socialisation goals in education.
2
Wilkinson, Catherine Joy. „Reflections and analysis to improve clinical practice : a student music therapist's journey with a preschool child with special needs : a dissertation presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand“. Massey University, 2008. http://hdl.handle.net/10179/858.
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This qualitative study critically examines the researcher’s music therapy clinical practice with a preschool child with global developmental delay. The researcher/student music therapist critically examined and refined her clinical practice using an action research model. Each cycle consisted of a plan, action, data collection, reflection, and analysis. The researcher was the main participant. The child, his mother and a speech-language therapist were co-participants with different roles. The child and his mother participated in the sessions. The speech-language therapist observed three sessions through a window. Feedback from the child’s mother and the speech-language therapist contributed to the reflective data. Important issues that developed through the cycles related to early intervention techniques (having fun, being playful and spontaneous, and being in close proximity). Other important issues that developed were, the use of the voice and guitar; confidence; professionalism with parents and other health professionals; self-awareness; and the understanding of early childhood development (especially in the area of communication). Related literature on aspects of music therapy practice, music therapy in early intervention, music therapy and communication, and action research are described. These results cannot be generalised. However, they may firstly, illustrate relevant trends in early intervention, and secondly, enable the researcher to adapt skills learnt to use in future practice in early intervention
3
Wang, Tzu-ya (Lisa). „Action research : improving my music therapy practice with hospitalised adolescents through building relationships and meeting their developmental needs : a thesis submitted to the Victoria University of Wellington in partial fulfilment of the requirements for the degree of Master of Music Therapy“. New Zealand School of Music, 2008. http://hdl.handle.net/10179/1115.
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This study examines the researcher's music therapy intervention with hospitalised adolescents within a paediatric hospital The hospital is located in a New Zealand city serving a broad multicultural population of mainly Pakeha, Maori and Pacific Island people. There is a large body of literature showing that experiences of hospitalisation are often unpleasant and that the challenges adolescents encounter during hospitalisation can also be detrimental to their development. The researcher employed an action research model of cycles of planning, action and reflection to explore the potential for practice improvement in meeting the needs of hospitalised adolescents. In addition, young people's feedback on the sessions and input from supervisors also contributed to the researcher's planning. Personal goals in clinical practice and specific planning for the needs of individual participants were the starting points of each cycle. Subsequently, each cycle had a learning analysis to relate planning to action and to collect the knowledge for the next cycle or future practice. The researcher found that through scrutiny of her clinical work she was able to improve her professional practice. The findings also showed that relationship-building through music therapy was able to support the developmental needs of hospitalised adolescents.
4
Lile, Trudy. „Creating new standards : jazz arrangements of pop songs : a thesis presented in partial fulfillment of the requirements for the degree of Master of Music in Jazz Performance, New Zealand School of Music, Auckland, New Zealand“. New Zealand School of Music, 2009. http://hdl.handle.net/10179/1203.
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This study involves the research, analysis, and performance of existing arrangements of songs that have been played and recorded by jazz musicians, and are identifiable as pop songs of the last thirty years. This project will discuss the development of these songs as new repertoire in the jazz idiom. In particular it will examine transcriptions of arrangements by Herbie Hancock, Dianne Reeves, Brad Meldau, Charlie Hunter, Christian McBride, and Bob Belden. The analysis of these transcriptions will consider the techniques these musicians used in their arrangements including reharmonisation, melodic interpretation, rhythm, and restructuring of the form of the original song. Further, the techniques identified in the analyses will be applied in the creation of new arrangements of similar songs from that era for jazz ensemble of various sizes.
5
Corby, Megan. „Music performance anxiety in adolescent student singers : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Music [in Performance]“. New Zealand School of Music, 2008. http://hdl.handle.net/10179/1112.
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This project seeks to sidestep the debilitating effects of music performance anxiety by cross-referencing knowledge from the areas of adolescent psychology with literature on MPA in singers in general in order to target adolescent singers early in their training. As well as considering the causes, symptoms and treatment of music performance anxiety, the project examines the role of the natural anxieties of adolescence in triggering music performance anxiety and seeks to chart a way through. Its intended readership is the classical singing teacher.
6
Park, Yaeun Kyung. „Improving understanding of music therapy with a non-verbal child: sharing perceptions with other professionals : a research presented in partial fulfilment of the requirements for the Master of Music Therapy at New Zealand School of Music, Wellington, New Zealand“. Massey University, 2008. http://hdl.handle.net/10179/999.
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This study explored the value of music therapy practice with a non-verbal child conducted by the author, a Music Therapy Student (MTS), as seen through the eyes of two music therapists and the child’s mother, as well as the improvement achieved in the MTS’s understanding of music therapy practice through sharing the three professionals’ insights. The paper addresses two research questions: (1) How is music therapy with a non-verbal child perceived by music therapy professionals? (2) How does sharing these professionals’ understanding of music therapy improve the MTS’s understanding of this therapeutic process? The MTS’s self-reflections were treated as part of the data in this research, as was the non-verbal communication within the music therapy intervention to support the findings. The qualitative research, ‘Naturalistic inquiry’ was used for this research. Data was collected by interviewing these three professionals individually about their perceptions of music therapy after watching three video extracts of normal music therapy sessions with the child. The video extracts were selected from the significant moments of non-verbal communication. Through this process of sharing the professionals’ perceptions, the MTS gained a deeper understanding of both the child and the music therapy practice administered, confirming and extending her understanding of the musical and therapeutic skills and techniques of the three professionals, which they had gained in their varied experiences and which had been shaped by their varied backgrounds. The MTS was thus engaged in a learning process which hoped would enhance the quality of therapy provided by her in the future.
7
Smith, Andy. „Pat Metheny: Composing to Exploit the Sound of the Guitar : a thesis submitted to the New Zealand School of Music [in partial fulfilment of the requirements for the degree of Master of Music]“. New Zealand School of Music, 2007. http://hdl.handle.net/10179/1113.
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The study's objective is to relate the development of Pat Metheny's stylistic characteristics from his interpretation of jazz standards to their incorporation into his own compositions. Stylistic elements are established and a sample of his compositions are analysed to compare his solo style in standards with his compositional style. Metheny is a recognised innovator in technique and uses a wide range of instruments in the guitar family, both traditional and radically new. The use of such instruments frees Metheny from some restrictions and the possibility that this freedom is a major influence in his improvisation and composition is remarked on. There is scope for further work based on a wider sampling, and the methodology used in this study could probably be modified to focus on this objective.
8
Robb, Hamish James Alexander. „Organicism, motivic parallelism, and performance in Beethoven's piano sonata Op. 2 No. 3 : a thesis submitted to the New Zealand School of Music in fulfillment of the requirements for the degree of Master of Music in Musicology“. Massey University, 2008. http://hdl.handle.net/10179/1000.
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This thesis summarises the important ideologies and concepts of musical organicism in the late eighteenth century and applies them to motivic analysis and performance. Much has been written about the organic nature of Beethoven’s later works, but less has been written about the organic coherence found in his earlier compositions. This study involves a motivic analysis of his Op. 2 No. 3 sonata (1795), for which little or no significant research has been carried out. This musical work is used as an illustration of ways in which musical organicism, motivic analysis, and performance can interrelate. The thesis is in three parts. Part one presents a review of late eighteenth-century ideologies of unity and their musical applications. In the search for an effective means of comparing motivic development with organicism, it is then argued that Schenker’s ‘motivic parallelism’ or ‘concealed repetition’ is considerably undervalued in his analytical framework. Drawing on the insights of Richard Cohn, I endorse a more autonomous treatment of the motivic parallelism in analysis, so that it is an independent unifying tool in its own right and not only a by-product of tonal analysis. Several approaches are applied to the motivic parallelism in order to illustrate how the parallelism can be used in ways normally only associated with the surface motif. Part two of the thesis consists of a detailed motivic analysis of Beethoven’s Op. 2 No. 3 sonata. It is argued that the motivic parallelisms contained in this sonata reflect late eighteenth-century ideals of organicism. I propose that there are several motivic cells found in the opening four bars of the sonata, which recur (or are ‘paralleled’) within all structural levels and over all four movements, unifying the sonata organically as one whole. In this way, I show that the Op. 2 No. 3 sonata can be seen to foreshadow the organic treatment of motifs by later composers, who were influenced by Goethe’s complex prototype (1802) as an organic model.(1) I also offer an ‘organic narrative’ for the sonata, using motivic parallelisms as the guiding forces in the discourse. The third and final part relates the motivic parallelisms and other analytical findings to performance. Techniques of ‘performing’ motivic parallelisms are discussed and applied to the Op. 2 No. 3 sonata. The organic perspective is proposed as one avenue through which to understand and enhance a performance of a work. (1) The sonata can also be seen to foreshadow the highly seminal treatment of motifs that was to become more widely used in Beethoven’s later works (such as the Eroica Symphony).
9
Smith, Felicity. „The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology“. New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.
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Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).
10
Wolffram, Paul. „Langoron: Music and Dance Performance Realities Among the Lak People of Southern New Ireland, Papua New Guinea : a thesis submitted for the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy“. New Zealand School of Music, 2007. http://hdl.handle.net/10179/1116.
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This thesis seeks to describe the indigenous realities, meanings, and perspectives that are central to the music and dance practices of the Lak (Siar) people in Southern New Ireland, Papua Now Guinea. The insights recorded here are those gained through the experience of twenty-three months living in Rei and Siar villages as a participant in many aspects of Lak social life. The music and dance practices of the region are examined in the context of the wider social and cultural setting. Lak performance realities, are indivisible from kinship structures, ritual proceedings and spirituality. By contextualising Lak music and dance within the frame of the extensive and socially defining mortuary, rites my intention is to show how music and dance not only reflect but also create Lak realities. By examining the ethnographic materials relating to music, dance and performance in the context of mortuary sequence broader elements of Lak society are brought into focus. In these pages I argue that Lak society is reproduced literally and symbolically in these performances.
11
Choi, Hee-Chan. „Multicultural encounters in music therapy in New Zealand : What particular clinical experiences do NZ music therapists describe when encountering clients who identify closely with a culture different from their own? : research dissertation in partial fulfillment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand“. 2008. http://hdl.handle.net/10179/1494.
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This qualitative study investigates how music therapists work within a culturally diverse environment in New Zealand and the researcher's own growing experience as a student clinician. This research endeavoured to answer two research questions. Firstly, what do music therapists in New Zealand perceive from their experience of working with clients from different culture? Secondly, how does my own experience as a second generation Korean MTS affect my clinical work in a multicultural environment in New Zealand? This study applied aspects of qualitative research. Four qualified New Zealand music therapists and the researcher herself participated in this study. Data was collected from the interviews with the music therapy participatns, the music therapy student's reflection on case notes from two clinical cases, and a research journal. Music therapists identified various issues that associated with their experiences of working cross-culturally. The main areas of key ideas were categorized under 1) cultural considerations 2) preconceptions 3) building a communicative bridge 4) clinical competency 5) different approaches 6) culturally appropriate practice. The ideas under these categories have crystallized to articulate the different voices of participants for the benefit of the knowledge in the existing literatures and for the enhancement of personal tools towards self awareness and culturally appropriate clinical practice. From the overview of all the participants consulted in this study it was concluded that recognition of the importance of self awareness was one of the most significant factors in building culturally appropriate practice in a multicultural environment.
12
Thurston, Donna. „Irish music in Wellington : a study of a local music community : a thesis submitted for the Victoria University of Wellington in fulfilment of the requirements for the degree of Master of Musicology, New Zealand School of Music, Wellington, New Zealand“. 2010. http://hdl.handle.net/10179/1416.
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The Irish session is a musical, social and cultural experience that has emerged from international popularisation and globalisation. In New Zealand today, communities of Irish music enthusiasts maintain links to an international arena, and the session is valued as a context for musical enjoyment and the affirmation of Irish identity. Throughout my research I immersed myself in Wellington’s vibrant Irish music scene with fieldwork techniques that included participant observation, sound recordings, and performance. The major part of this study took place in two local Wellington pubs - Molly Malone’s and Kitty O’Shea’s – but I also observed sessions in other New Zealand cities and in Ireland. The similarities and differences between the two Wellington sessions were examined in detail and my research included extensive interviews with the participants. In addition to exploring Irish sessions in the context of two Wellington pubs, this thesis explores session instrumentation and repertoire, and aspects of cultural identity that include the participant’s experiences with Irish music. This thesis also examines how individual session members actively contribute and link their musical training and background to a transnational Irish music community. By studying the individual and musical identities of those actively involved in the community, this thesis reveals that Irish music in Wellington is an active and dynamic scene made up of enthusiasts with a variety of musical and cultural backgrounds. With music as its heart, the Wellington session community, is simultaneously localised in New Zealand but extends outward and connects with Irish communities globally.
13
Chiang, Jenny Yu Kuan. „Music therapy for young children who have special needs : the music therapy experience from the perspectives of carers and professionals : thesis in partial fulfilment of the requirements of the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand“. 2008. http://hdl.handle.net/10179/1245.
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This project aims to investigate how carers and other professionals perceive the music therapy process over time. Music therapy has been used to address a wide range of diagnoses and developmental issues of young children. The research was conducted during my clinical placement working with young children who have been referred to a child development team. The participants in this project were carers with children with special needs. The children were diagnosed with various disabilities and required different support and developmental goals. Each child attended individual music therapy sessions once a week over a period of three to nine months. It was speculated that many other changes or developmental progress could occur along with the goals and objectives set by me in the music therapy process. To understand fully what other changes or progress the children have made with the input of music therapy, the research was designed using open-ended interviews to find out what the carers and a professional witnessed during and in between the sessions. Three carers were involved in a one-on-one in-depth interview in which they were encouraged to talk about their observation and perception of music therapy. A speech-language therapist was also invited to participate in an in-depth interview. Data derived from the interviews was analysed using a thematic analysis approach. The findings compare themes generated from the clinical notes and interview data. The results showed some shared experiences amongst the participants as well as exceptions influenced by parental differences and the children’s conditions. Examination of the similarities and differences between the clinical notes and the interview data helped me validate the outcome of music therapy intervention and gain more insights into effective practice.
14
Cammell, Shane. „What can I understand about children with special needs from the musical offerings that emerge in the music therapy process? : a thesis presented in partial fulfilment of the requirements for the degree of Masters in Music Therapy at New Zealand School of Music, Wellington, New Zealand“. 2008. http://hdl.handle.net/10179/861.
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This arts-based research thesis sought to understand two children with special needs, through their musical offerings within the context of their music therapy sessions. The process of understanding the children came through firstly listening to and extracting meaningful musical data from recordings of their sessions. This data included both actual excerpts of the musical interplays between the child and music therapist (myself), and more broadly, underlying themes drawn from the recorded session material. The data was then creatively ‘melded’, resulting in two original instrumental works, herein referred to as 'songs'. Before, during and after writing the songs, rigorous analyses were undertaken utilising both a formal approach, via the use of a contextual question framework, and two creative approaches: free-form narration and data-led imagery. The contextual question framework, involving the repetitive use of two key questions - where? and why? - sought to understand the data’s context, its purpose for inclusion, and its influence on the respective song. One of the creative approaches, that of free-form narration, sought to, rather than analysing the song through formal structures, instead ‘tell the song’s story’, narratively conveying the experience of being with the child in his music. The other creative approach, that of data-led imagery, involved creating images during and after being ‘immersed’ in the musical data, employing instinctive or subconscious means to further develop the therapist’s understanding of the child’s musical offerings, and moreover, the child himself. Upon completion of the two songs, it was discovered that clinical themes present from the sessions strongly influenced the song creation process. Results also strongly supported the validity of arts-based research as a viable means of analysing music created with children with special needs.
15
Garber, Melissa Lee. „Exploring processing reflection methods and how they can be utilized in music therapy sessions at an adolescent acute psychiatric ward : a research project presented in partial fulfillment of the requirements for the degree of Masters in Music Therapy at the New Zealand School of Music, Wellington, New Zealand“. 2008. http://hdl.handle.net/10179/1502.
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This study explores how other music therapists and mental health professionals process and reflect on their sessions and what issues are relevant and instrumental in achieving this. The primary focus is on an acute psychiatric ward for adolescents. The intent is to improve my ability to process and reflect on my clients’ responses and actions during and after future Music Therapy sessions. Research began by exploring the various ways of processing content that emerge during sessions by exploring the literature, interviewing an Occupational Therapist and a Clinical Psychiatrist from the unit and by analysing my reflective journal. Using multiple sources of information, methods, techniques and theories I will endeavour to uncover meaning, improve my understanding and thus improve my future practice. The initial perspective was endeavouring to discover how a therapist can better reflect on or process their sessions. Findings showed that the therapist processing with intent to “fix” or “cure” a client is misdirected. Through self-reflection, observation, ‘mindfulness’ , empathy, awareness of countertransference and several other tools, a therapist is able to become client-centred and potentially assist the client to self-reflect and develop mindfulness. The way in which a therapist processes and reflects is often influenced by an underlying psychodynamic theory that they adhere to. Experience and training can also influence this processing. With this client group, it is difficult to fully comprehend what a client is feeling or thinking. A therapist best serves the client by initially focusing on the client-therapist relationship. By building a trusting, safe environment, meeting the clients where they are emotionally or physically and by making exercises meaningful, clients needs can begin to be met. This all contributes to the ultimate goal of the therapy at this unit - to help clients “gain skills, gain independence and gain wellness”.
16
Rożnawski, Jakub Pawel. „Christian Gotthilf Tag four sonatas transcribed for guitar duo : a thesis submitted to the New Zealand School of Music in partial fulfllment of the requirements for the degree of Master of Music in Performance“. 2008. http://hdl.handle.net/10179/1417.
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This study focuses on a guitar duo transcription of four keyboard sonatas composed by the north German Cantor, Christian Gotthilf Tag (1735-1811). While the works were never published and the original manuscripts are lost, the music survives in manuscript copies made by K.H.L. Pölitz, which have served as the source. After a brief discussion of the composer and his life, the author explores transcription techniques used in previous duo transcriptions. The study gives a detailed rationale for the editorial methodology used, with examples from the present transcriptions. A separate volume includes the sonata transcriptions laid out in parallel to the keyboard edition, and provides brief performance instructions, mostly regarding ornamentation. The four sonatas add up to a collective length (including repeats) of approximately 60 to 70 minutes of music.
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Armstrong, Ruth Elizabeth. „The effect of music therapy on self-reported affect in hospitalised paediatric patients : a thesis submitted to the New Zealand School of Music in partial fulfilment of the requirements for the degree of Master of Music Therapy“. 2009. http://hdl.handle.net/10179/1208.
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The present research examines the effect of music therapy on the affect of hospitalised children. It took place on a paediatric ward of a New Zealand public hospital. This study aimed to investigate the role of music therapy in addressing patients’ psychosocial needs. Literature on the impact of hospitalisation, and on the use of music therapy in hospitals and paediatrics was reviewed. The research involved an audit of the therapist’s clinical notes from music therapy sessions over the course of seven months. The clinical notes included measurements of children’s mood from the beginning and end of sessions, using McGrath’s (1990) Affective Facial Scale. It was hypothesised that mood measures following music therapy would be higher than pre-music therapy scores. Statistical analysis of the facial scale data did not show a significant difference between ‘before’ and ‘after’ measures. These results were discussed with regard to a ceiling effect (this is, the measurements indicated patients were at the happy end of the scale before the music therapy session, so there was little room on the scale for mood to improve following music therapy). The measurement of emotion did not prove to be straightforward. The hospital environment may have influenced the patients’ responses in a number of ways. These environmental influences are discussed with reference to examples from the clinical notes. The usefulness of facial scales in this context is discussed, as well as other limitations of the research. Suggestions for future research include the use of other mood measures, and the inclusion of measurements of parental mood and how this affects the child.
18
Savaiinaea, Chelsea Makere. „Challenges in communication : a critical analysis of a student music therapist's techniques in working with special needs children : a thesis presented in partial fulfilment of the requirements for the degree of Masters of Music Therapy at the New Zealand School of Music, Wellington, New Zealand“. 2009. http://hdl.handle.net/10179/1135.
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This paper describes the processes under taken by a student music therapist to improve her clinical practice and enhance the quality of service provided to children with profound and multiple disabilities. Using an Action Research model it aims to show how rigorous investigation of one's own practice can improve understanding of the clients and enhance students' abilities and confidence when carrying out placement work. An interview process with three registered music therapists preceded a 12 week action research process. Three cycles were undertaken with each lasting 4 weeks and the interview material informed the initial cycle. Clinical notes, a research journal and video recordings of sessions were three data gathering tools used to evaluate the success of techniques employed. This intensive critical analysis led to a greater awareness of in session communications and an improvement in techniques such as active waiting and repetition of activities. This in turn created increased opportunities for response to musical offerings by this client group.
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Castelino, Ajay. „The effect of single sessions of music therapy on the level of anxiety in older persons with psychiatric disorders : a pilot study : a thesis presented in partial fulfilment of the requirements for the degree of Master of Music Therapy at the New Zealand School of Music, Wellington, New Zealand“. 2009. http://hdl.handle.net/10179/1207.
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This pilot study examined the effects of single sessions of music therapy on the level of anxiety in older persons with psychiatric disorders. The studied intervention was a 30 minute music therapy group and the control intervention was a verbal therapeutic intervention in the form of a reminiscence group. Participants acted as their own control. The measurement tool was the state part of a “State Trait Anxiety Inventory”. It was administered a total of four times, pre- and post- the music therapy intervention and preand post- the reminiscence therapy (control) group. A total of 9 participants were recruited for the study. The results indicated that single sessions of music therapy significantly reduced the level of anxiety for older persons with psychiatric disorders [t(8)=4.626, p<0.0017] as compared to the control intervention as measured by the state part of the “State Trait Anxiety Inventory”. There was no evidence for a significant carryover effect since the baselines prior to each intervention did not differ significantly (p=0.55). These results can be considered to be a part of a pilot study and early inquiry into this field since methodological difficulties and the time limitation of the research resulted in some necessary deviations from the original protocol. A major limitation of the study was the choice of a measurement tool, which required the client to be cognitively high functioning. Thus these results are limited to cognitively able clients, which is a relatively small proportion of this client group that could potentially benefit from music therapy. It is suggested that for future research with this client group the measured variable be physical relaxation, rather than anxiety.
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Brain, Corisha. „A social, literary and musical study of Julie Pinel's 'Nouveau recueil d'airs serieux et a boire' (Paris, 1737) : a thesis submitted in fulfilment of the requirements for the degree of Master of Music in Musicology, New Zealand School of Music“. 2008. http://hdl.handle.net/10179/914.
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This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.
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Alton-Lee, Amity Rose. „The improvisation of Tubby Hayes in 'The New York Sessions' : exegesis submitted in partial fulfilment of a Masters in Musicology, New Zealand School of Music“. 2010. http://hdl.handle.net/10179/1419.
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Audio files not uploaded onto institutional repository due to copyright restrictions: Hayes, T. & Clark, T. The New York sessions.Tubby (Edward Brian) Hayes; prodigious self taught multi-instrumentalist and virtuoso tenor saxophone player has been proclaimed by some to be the best saxophonist that Britain has ever produced: "Indisputably the most accomplished and characterful British jazzman of his generation." His career, although cut short (he died undergoing treatment for a heart condition in June 1973, aged 38) was perpetually intense, incredibly prolific, and non-stop from his debut at the age of fifteen until his premature death. Hayes was proficient on many instruments; all saxophones, clarinet, flute, violin and vibraphone as well as being an accomplished bandleader and arranger. However it was his virtuoso tenor saxophone playing that found him acclaim. Although well known in his time and widely renowned for his ability, Hayes until recently has been little studied. It is only in the last few years that many critics and students of jazz have attempted to gain an understanding of Hayes' improvisational concept, which has been both praised as genius and criticised as directionless: Tubby Hayes has often been lionized as the greatest saxophonist Britain ever produced. He is a fascinating but problematical player. Having put together a big, rumbustious tone and a delivery that features sixteenth notes spilling impetuously out of the horn, Hayes often left a solo full of brilliant loose ends and ingenious runs that led nowhere in particular... However, Hayes, his legacy, and his inimitable style of tenor saxophone playing would truly leave their mark on the British Jazz community for generations to come. Dave Gelly summed up Hayes by saying that Tubby "played Cockney tenor - garrulous, pugnacious, never at a loss for a word and completely unstoppable."
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Davenport, Andrew Russell. „Paganini's 24 Caprices opus 1 : a transcription for electric guitar, and analysis and development of the techniques required to perform them : a thesis submitted in fulfillment of the requirements for the degree of PhD, Massey University, New Zealand“. 2008. http://hdl.handle.net/10179/713.
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Since the late 1970s much interest has been shown in the development of electric guitar technique. Advances have been considerable, enabling players to explore new genres and repertoires but development methodologies have remained woefully fragmented. A new approach that sets out to promote electric guitar technique with development methodology is the purpose of this study. To this end, a process of transcription combined with an advanced technical analysis has been undertaken including a full categorization of the technical subgroups extant within each Caprice. The hypothesis behind this task has been to ascertain whether a ‘technical essence’ could be discovered in the Caprices and how that could be imparted in the process of transcription. Transcribing the 24 Caprices for the electric guitar disclosed the technical components required for development which were then reduced to their constitute elements. The virtuosity and variation within the Caprices ensured that the each identified technique was developed to a high degree. The subjective nature of transcription ensured that multiple solutions were explored when a single solution to a technical problem was not obvious. The analysis section of the study demonstrated that three fundamental techniques were required to play all 24 Caprices: alternate-picking, sweep-picking, and hammer-ons and pull-offs. The analyses also provided trends showing how each technique needed to be developed to comprehensively cover all twenty-four pieces. In conclusion, the hypothesis was found to be correct.