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1
Wapper, Toni. „Factors associated with musical preference /“. Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsw252.pdf.
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Howard, Sara Louise. „Exceptional musical performance : assessment of intelligence, musical aptitude, practice and empathy as contributing factors /“. Title page, table of contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09HS/09hsh8481.pdf.
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3
XU, JIN. „The factors affecting the development of the musical performance : A study on the musical performance in Shanghai“. Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13680.
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The development of musical theatre in china is still in its initial stage, only a few big theatres have the ability of operating musical performance, and at this time, musical theatre is only performed in few big cities in China, like Shanghai and Beijing. The the-sis focuses on the development of musical theatre in Shanghai. As an entertainment ac-tivity and also one of the performing arts, the demand for musical theatre could be affect by many factors like educational background, income and competition from other forms of entertainment activities. There were many previous studies about the performing arts which also focused on the factors like education and income, however, the level of con-tributions of these factors to the development of different forms of performing arts are different. By reviewing related previous literatures and analyzing the data collected from Shanghai Grand Theatre which bases on a meta analysis of previous studies of performing arts, the thesis explores the current situation of the development of the mus-ical performance in Shanghai and studies various factors that affect the demand for musical theatre, as a result, a deeper understanding of how factors like educational background, income, competition among forms of entertainment activities etc. affect the development of musical theatre in Shanghai wish to be provided.
4
Meinz, Elizabeth J. „When can experience reduce age differences in cognitive tasks? : a study of musical memory“. Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/28791.
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5
Hutchins, Sean. „Implicit memory for music : factors affecting musical priming and their time courses“. Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.
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This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
6
Newsome, R. „The 19th century brass band in northern England : musical and social factors in the development of a major amateur musical medium“. Thesis, University of Salford, 1998. http://usir.salford.ac.uk/2026/.
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This thesis examines the development of the amateur wind band in Britain during the nineteenth century, with special reference to the increasing domination of the brass band, particularly in northern England. After a preliminary review of British amateur wind bands generally, the growth of the brass band competition is investigated, showing how the contesting bands were initially concentrated in Yorkshire. The effects of industrial sponsorship and the emergence of the volunteer movement from 1859 are examined, along with the consequent shift in the concentration of bands from Yorkshire - mainly to Lancashire but also, to a limited degree, to other parts of the north and to the north midlands. Instrumentation and repertoire are also discussed, along with some collections of early band music. Part 2 of the thesis looks specifically at developments during the final quarter of the century, first of all in terms of repertoire, then through some of the personalities involved - conductors and players - before investigating the roles played by the best of the bands. Finally, having shown how a regional brass band movement grew from a nationwide net-work of wind bands, the thesis looks at ways in which the fledgling brass band movement began to spread, paving the way for the national and, indeed, international brass band movement of the twentieth century.
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Johnson, Brandon Paige. „Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence“. Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
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This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
8
King, Tyler C. „Factors influencing adults' participation in community bands of Central Ohio“. Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243881978.
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Moreno, Sala María Teresa. „The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /“. Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.
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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Manners, Bianca. „The critical success factors for managing the visitor experience at a major musical event / Bianca Manners“. Thesis, North-West University, 2011. http://hdl.handle.net/10394/8440.
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With numerous artists coming to South Africa, the event industry is becoming congested with competition. This makes the production of a memorable visitor experience to events particularly challenging for the management of the event. Various aspects are required to occur when managing an event, and these contribute to the success and memorable experience of visitors. These aspects can either be controlled or uncontrolled by management. To ensure a successful event and memorable experience for visitors, event managers have to consider all of the various aspects that can be controlled within the event organisation when hosting a major music event. It is therefore important for management to ensure that the controllable key management aspects, also referred to as Critical Success Factors (CSFs), are implemented effectively and efficiently to ensure a memorable visitor experience.
However, even though these management aspects (CSFs) may be familiar to event managers, the significance of what visitors regard as important concerning those aspects that would ensure a memorable visitor experience is, as yet, undefined. In addition, according to available literature, CSFs differ between the different events and different tourism organisations. Thus, CSFs identified at one event to ensure the successful management of a memorable visitor experience cannot be used at other events. Hosting major music events at various locations can be even more challenging as visitors attending major music events at different locations are a non-homogeneous market and so regard different aspects in different lights. Therefore, it is evident that the CSFs identified with regard to what visitors at one venue will consider as important will differ from those regarded as important at another venue, even when it is the same performer at each venue. Thus, it became critical to seek answers to the questions of what visitors to a major music event regarded as important CSFs and how did the importance of these CSFs differ between location and location? Therefore, the purpose of this study became the determination of the CSFs for managing the visitor experience at major music events in South Africa. The year 2011 was the first time that world-famous Neil Diamond had performed in South Africa. Neil Diamond performed four concerts at different locations (Johannesburg’s FNB stadium, Durban’s Moses Mabhida Stadium, Cape Town’s Greenpoint Stadium and at Port Elizabeth’s Nelson Mandela Stadium). This was the first time major music events had been held at these venues where one performing artist performed at all four different locations (cities). Thus, this event was the ideal opportunity to investigate. In order to realise the goal of the research, surveys were conducted at the four Neil Diamond concerts held, respectively, in Johannesburg (1 April, 2011), Durban (5 April, 2011), Port Elizabeth (8 April, 2011) and Cape Town (11 April, 2011) where, altogether, 1820 questionnaires were administered.
The purpose of the first article was to determine what visitors at a major musical event regarded as critical management aspects, or as critical success factors (CSFs), for a memorable and satisfactory visitor experience. This was to aid major music event managers with information they could use to improve and ensure memorable visitor experiences in the future. A factor analysis was performed to determine the CSFs. Six factors were revealed, being General Management; Souvenirs; Marketing; Venue and Technical aspects; Accessibility and Parking; and Amenities and Catering. General Management, Venue and Technical aspects and Marketing were regarded as the most important CSFs for visitors to a major music event. It was subsequently confirmed that CSFs differed from one event to another. Thus it became clear that one set of CSFs cannot be used across each venue for events. By determining the CSFs, and through successfully managing these factors, major music events will ensure the retention of long term visitor goodwill, and so will remain competitive and sustainable.
Neil Diamond presented four concerts at four different locations, The purpose of the second article was to determine the impact that location makes to the visitor experience at a major music event. Two-way frequency tables and Chi-square tests as well as ANOVAS and Turkey’s multiple comparisons were used to determine the differences between the four locations. Statistically significant differences were found, based on demographic, behavioural variables and motivational factors. Determining the effects these differences have provided major music event managers with superior knowledge in order to develop and manage future concerts at the differing destinations and locations. This research also help management to create a memorable visitor experience and so foster the promotion of future events more effectively to the target audiences, as well as potential sponsors. This specificity can also enhance bid documents for organisations and locations aiming at hosting major music events.
This research revealed six critical success factors at a major music event. These CSFs can be used to enhance the visitor experience. However, it was also found that one set of CSFs cannot be used for every event as different locations regard different CSFs as being more important than others. Since major music events are often held at more than one location, it becomes critical to differentiate each location as the visitors to the various locations cannot be seen as homogeneous and so will have different needs and expectations. Thorough and informed knowledge of what is required for visitor satisfaction will not only ensure an improved event, but will enhance the visitor experience at such an event.
This was the first time research was performed at major music events in South Africa that revealed the profile, motives, CSFs and spending behaviour of visitors to these events. Research not only provided information concerning the CSFs needed to manage the visitor experience at a major music event, but also provided an overall perspective of what visitors regard as important for a memorable visitor experience at four different geographic destinations hosting the same artist. This research contributes to the literature concerning the management of major music events and concerning the creation of memorable visitor experiences at these events.Thesis (MA (Tourism Management))--North-West University, Potchefstroom Campus, 2012
11
Kung, Hsiang-Ning. „Cultural Influence on the Perception and Cognition of Musical Pulse and Meter“. The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494228392604585.
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Halstead, Jill. „The woman composer : a study of factors affecting creativity and the gendered politics of musical composition“. Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309947.
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Hickok, Stephen Clyde Walls Kimberly C. „The relationships of parental involvement, motivating factors, and socioeconomic status to high school all-state choir and band membership“. Auburn, Ala, 2009. http://hdl.handle.net/10415/1587.
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Masters, Jane. „An investigation into the nature of musical creativity and some of the factors that affect its expression and perception in musically trained and untrained individuals“. Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20259/.
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Creativity and its expression in music are central to the essence of what it means to be human (Hodder, 1998; Blacking, 1995), but are characterised by an elusiveness and multifaceted complexity that seem to both defy definition (Torrance, 1988; Netti, 2000) and hinder investigation (Hargreaves, 1986). Their function depends on powerful cognitive mechanisms which enable the individual to hold, shape, refine and reflect on ideas, for the most part unconsciously (e.g. Fauconnier & Turner, 2001; Boden, 1998; Pressing, 1988). This study has sought to appropriate such processes in order to access the individual's most fundamental capacity to be musically creative, employing the essentially intuitive, unmediated and universally accessible medium of vocal improvisation. Thus, 40 musically 'trained' and 'untrained' participants vocally improvised a melody based on a given chord scheme referent. These were transcribed, rerecorded instrumentally and randomly ordered on a CD from which seven expert and three non-expert judges could aurally evaluate their creative value (Amabile, 1982). The total scores of the expert and non-expert evaluation groups were separated and subjected to statistical analysis, in relation to the experience of formal instrumental (FIMT, Seddon & O'Neil, e.g. 2001) and singing (FST) tuition, highest and lowest ranking, repeated improvisational attempts, gender and age. The highest and lowest ranked improvisations were identified and subjected to musical analysis from their transcriptions. In relation to the musical content of the improvisations, the results demonstrated that the vast majority of musically untrained and trained participants were able generate essentially coherent melodies, many possessing quite detailed melodic, rhythmic and structural elements. There was also clear evidence of a propensitya climax and place it at, or just after, 'two-thirds' of the way through a melodie. In relation to the evaluations, both expert and non-expert evaluator groups produced some significant results although the often marked differences between them indicated that differing perceptual capacities and conceptual understandings were in operation. Thus the non-expert evaluations possessed a different kind of validity to those of the experts, based on more global and emotional criteria than the experts' more cognitive and specific focus. Both experts and non-experts agreed that age, and thus experience in a culture, was a significant factor in the ability to be musically creative. The effect of training was addressed by correlating the mean total ratings of the improvisations of participants with and without FIMT and FST, for which the expert and non-expert evaluation results showed different patterns. Thus while the non-expert results indicated a significant interaction between instrumental and singing training, those of the experts suggested that neither form of training had an effect on the production of creativity, as all four measures were remarkably similar.
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Vinke, Louis Nicholas. „Factors Affecting the Perceived Rhythmic Complexity of Auditory Rhythms“. Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1269042162.
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Condessa, Janaína. „A motivação dos alunos para continuar seus estudos em música“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32473.
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Esta pesquisa foi desenvolvida dentro da temática sobre motivação para aprender música e teve como objetivo geral investigar a interação entre os fatores individuais e ambientais que motivam os alunos para continuar seus estudos em música fora da escola. Segundo a literatura, os fatores individuais referem-se às crenças, às percepções e às características pessoais dos alunos, enquanto os fatores ambientais relacionam-se às experiências em determinado local e momento de vida, bem como com as interações estabelecidas com as pessoas desse ambiente. Como objetivos específicos, esta pesquisa verificou o papel do ambiente (pais, família, professores, pares e contexto escolar) e investigou os fatores individuais (metas e autoconceito) que possuem relação com a motivação para continuar os estudos em música fora da escola. O referencial teórico adotado foi o modelo de motivação em música (HALLAM, 2002, 2005, 2006), pois contempla a interação entre os dois tipos de fatores: individuais e ambientais. O método utilizado foi o estudo de entrevistas, com alunos das séries finais do ensino fundamental que possuíam aula de música na escola desde as séries iniciais e que optaram por estudar música fora da escola após a quinta série. Apoiada na literatura da educação e da educação musical, esta pesquisa justifica-se pela possibilidade de compreender tanto os diferentes fatores envolvidos na interação entre o indivíduo e o ambiente durante a aprendizagem musical quanto a maneira pela qual esses fatores incentivam o aluno a continuar os estudos em música. Os resultados apontaram para uma forte relação entre os fatores individuais e ambientais e para a correspondência entre a motivação para aprender música dentro da escola e a motivação para continuar os estudos em música fora da escola. Esses resultados poderão colaborar para o aprimoramento pedagógico dos professores de música, além de permitir reflexões e oferecer subsídios que possam melhorar a motivação dos alunos para aprender música, dentro e fora da escola.This research is about motivation to learn music. Its general aim was to investigate the interaction between individual and environmental factors which motivate students to continue their studies in music outside school. According to literature, individual factors refer to students’ beliefs, perceptions and personal characteristics, whilst environmental factors are related to life experiences in some places and at some times, as well as the interaction with others. The specific aims to this research was to verify the role of environment (parents, family, teachers, peers and school context), as well as investigate individual factors (goals and self-concept about abilities) in students’ choice in continuing to learn music outside school. The theoretical framework adopted was the model of motivation in music (Hallam, 2002, 2005, 2006), because it considers the interactions between individual and environmental factors. The method chosen was the interview study, with middle school students who attended music classes at school since first cycle of fundamental education, and opted to study music outside school after the fifth grade. Based both on the education and the music education literature, the reason of this research is the possibility of understanding not only the different factors involved in the interaction between the individual and the environment during the musical learning, but also the way these factors motivate the student to continue studying music. The results of this research revealed a close link between individual and environmental factors. Moreover, data showed the relation between motivation to learn music inside school and motivation to continue music outside school.
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Burns, Kimberly Jo. „The effect of two methods of music instruction on factors in the listening experience and musical preference of fourth- and fifth-grade students“. Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187228.
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The purpose of this study was to examine the effects of two methods of music instruction on two factors in the musical listening experience, identified as music description and music identification, and musical preference of fourth- and fifth-grade students. The listening experiences consisted of one which utilized descriptive writing in the music lesson and one which utilized participatory listening activities such as maps for guided listening, worksheets, and call charts. Also examined were the interactions of gender, grade level, and degree of writing presence in the regular classroom. Seven-hundred and eleven students from thirty-six intact classes in six elementary schools of three school districts were chosen for the study. The intact classes were randomly assigned to one of the two methods of instruction for a seven week experiment. The study utilized a pretest/posttest two group experimental design to answer 10 research questions. Repeated measures MANOVAS, t-test of independent samples, and two-variable correlation tests were conducted to measure mean differences, interactions, and possible relationships in the data. Results of the study indicated significant differences between method of instruction and the variables of music description and music identification. Method of instruction did not influence musical preference. Also significantly different were students' scores for music description, music identification, and musical preference between the participating 23 classroom teachers. Method of instruction, grade level, degree of writing presence, and gender did not significantly interact collectively with music description, identification, or musical preference although some areas interacted with these variables individually. Significant interactions were found between music teacher and method with regard to students' scores on tests of music description, music identification, and musical preference. Two correlational tests resulted in values that indicated no relationship between the variables of musical preference and description and musical preference and identification. However, the non-relationship of music description and musical preference was non-significant while music identification and musical preference were significantly non-related.
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Martin, Stephanie Parke. „An exploration of factors which have an impact on the vocal performance and vocal effectiveness of newly qualified teachers/lecturers“. Thesis, University of Greenwich, 2003. http://gala.gre.ac.uk/8761/.
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The aim of this project was to explore whether voice care and development, prior to qualification, could mitigate potential vocal attrition in newly qualified teachers/lecturers within their first year of teaching. A specific focus of the research was to see if any causative relationship could be seen to exist between vocal change, specifically change in vocal quality, and the exigencies of the teaching role. Vocal quality in this instance is defined as the way in which individual voices demonstrate discrete features of pitch, resonance, degree of breathiness and clarity of the note. The sum of these features is perceived as voice/vocal quality. The study sought to gain a deeper knowledge of the vocal demands of the teaching role with a particular focus on the experiences of newly qualified teachers and lecturers. It was hoped, that information gained as a result of the study, would add to the current canon of knowledge regarding the vocal demands on teachers as a feature of their professional role. As a result of the study a number of important elements were identified, some of which go beyond the original focus of the research but arise from data gathered doing it. A number of recommendations are made which, it is hoped, will inform future working practice and increase vocal health within the teaching profession.
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Bogner, Ryan. „A study of the factors that influence compositions of common texts with an emphasis regarding the text of Te Deum settings by Antonín Leopold Dvořák and Franz Joseph Haydn“. Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/9096.
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Master of MusicDepartment of Music
Joshua Oppenheim
Julie Yu Oppenheim
The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions. Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings. Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum. Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations. Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings. Appendix A provides the complete text of the Te Deum psalm with English translations and melody. Appendix B provides a score analysis of Te Deum (HXXIIIc:2). Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).
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Myer, Bettye J. „Relationships among selected measures of auditory foreign language aptitude and achievement, musical aptitude and experience, prior academic achievement, sex, and handedness factors at the secondary school level“. The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273002085.
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Neves, Margarida Alexandra Teixeira. „A performance musical: factor de motivação no estudo do instrumento“. Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7412.
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Mestrado em Ensino da MúsicaEste projecto teve por objectivo primário averiguar a influência da realização de momentos performativos frequentes na motivação dos alunos para o estudo do instrumento musical, analisando também o seu impacto na aquisição de competências cognitivas, performativas e musicais. Aplicou-se o estudo a um conjunto de 23 alunos de instrumento – flauta transversal – do ensino vocacional da música distribuídos por um grupo de controlo e por um grupo experimental. Foram utilizadas diversas ferramentas de obtenção de dados que permitiram a recolha de informação conducente à conclusão da investigação e resolução da problemática nela envolvida. Os resultados sugerem um impacto da performance frequente em diversos aspectos do processo de aprendizagem dos alunos.
This project aimed to investigate the influence of public performances carried on on a frequent basis in studentʼs motivation for instrument practicing. It aimed also for investigating the impact of those frequent public performances in cognitive, performative and musical competence acquisition. The study was applied to a set of 23 students of a musical instrument – flute – distributed in one control group and in one experimental group. Several tools were used to obtain data that was essential on collecting information that lead to the conclusion of this investigation and to the resolution of the questions involved. The results suggest an impact of frequent public performance in several aspects of the learning process of students.
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Solé, Salas Lluís. „El Disseny universal de pràctiques musicals instrumentals en grup“. Doctoral thesis, Universitat de Vic - Universitat Central de Catalunya, 2017. http://hdl.handle.net/10803/461680.
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El Disseny Universal és un marc conceptual sorgit des de l’àmbit de l’arquitectura
que proposa elements de disseny de productes i entorns amb la finalitat
d’eliminar barreres i garantir l’accessibilitat al major rang de persones possible.
Durant les darreres dues dècades s’han anat adaptant les pautes d’aplicació de
les directrius del Disseny Universal a nous entorns. En aquesta investigació
proposem explorar les possibilitats d’implementació d’aquest paradigma al camp
de la música instrumental en grup per tal d’aproximar el fenomen musical de
forma activa i praxialista a un major nombre de persones possible. Els nostres
objectius son: la identificació de factors afavoridors de la implementació dels
principis del Disseny Universal a Orquestres i formular pautes d’aplicació
d’aquests principis per a l’organització, funcionament i continuïtat de formacions
instrumentals de tipus orquestral que desitgin abordar repertori occidental des
d’un enfocament d’accessibilitat universal. Per a tal propòsit, hem posat en marxa
una orquestra sense restriccions d’accés, en base a l’anàlisi documental i
l’experiència durant 4 anys ininterromputs de funcionament del projecte. Els
instruments de recollida de dades s’han aplicat sobre participants d’una orquestra
pilot i sobre un grup d’experts en l’àmbit de la música instrumental en grup.
Aquests han consistit en 3 qüestionaris i dos grups focals. Els resultats obtinguts
han permès identificar factors facilitadors i establir pautes d’aplicació dels
principis del DU per al disseny d’orquestres accessibles. S’obre així una línea a
explorar sobre l’aplicació del DU en l’ambit de la música.El Diseño Universal representa un marco conceptual, surgido desde el ámbito de la arquitectura, que propone elementos de diseño para productos y entornos con el fin de eliminar barreras y garantizar la accesibilidad al mayor rango posible de personas. Durante las últimas dos décadas se han adaptando las pautas de aplicación de las directrices del Diseño Universal a nuevos entornos. En esta investigación proponemos explorar las posibilidades de implementación de este paradigma en el campo de la música instrumental grupal con el fin de aproximar el fenómeno musical de forma activa y praxialista a la sociedad. Nuestros objetivos son la identificación de factores favorecedores de la implementación de los principios del Diseño Universal en orquestas y formular pautas de aplicación de dichos principios para la organización, funcionamiento y continuidad de formaciones instrumentales de tipo orquestal que deseen abordar repertorio occidental desde un enfoque de accesibilidad universal. Para ello, hemos creado una orquesta con propósitos de universalidad de acceso, en base al análisis documental y la experiencia durante 4 años ininterrumpidos de funcionamiento del proyecto. Los instrumentos de recogida de datos se han aplicado sobre participantes de una orquesta piloto y sobre un grupo de expertos en el ámbito de la música instrumental en grupo. Estos han consistido en 3 cuestionarios y dos grupos focales. Los resultados obtenidos han permitido identificar factores facilitadores y establecer pautas de aplicación de los principios del DU para el diseño de orquestas accesibles. Se abre así una nueva línea a explorar sobre la aplicación del DU en el ámbito de la música.
Universal Design(UD) is a framework that emerged from the field of architecture to purpose the design of products and environments to be usable by all people, to the greatest extent possible, without the need for adaptation or specialised design. During the last two decades it has been applied and adapted to new frameworks. This research aims to explore the possibilities of implementing this paradigm in the field of groupal instrumental music in order to appreciate and disseminate the musical phenomenon and its praxialist approach to the greatest number of people. The aims are to identify factors favouring the implementation of the principles of Universal Design for orchestras and formulate guidelines for applying these principles to the organisation, operation and continuity of orchestras wishing to address Western repertoire. For this purpose, and based on experience and bibliographic review, we have created an orchestra focused on universal access. Different tools have been applied to participants in a pilot orchestra and experts in the field of instrumental music groups. These consisted of three surveys and two focus groups. The results have enabled us to identify facilitating factors and establish some guidelines for applying the principles of DU for designing accessible orchestras. This opens a new line to explore on the application of DU in the field of music.
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Huguet-Benabdelmouna, Marie-Céline. „La réussite en éducation musicale : des facteurs individuels aux facteurs contextuels“. Phd thesis, Université de Bourgogne, 2007. http://tel.archives-ouvertes.fr/tel-00259778.
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Ce travail se propose d'améliorer la connaissance des déterminants individuels et contextuels de la réussite en éducation musicale en classe de 6e. Trois axes principaux structurent la recherche : les inégalités sociales d'acquisitions, les effets enseignants et l'impact de l'intérêt des élèves pour les activités du cours. Deux tests musicaux (l'un en début d'année, l'autre à la fin) ont été administrés à 1184 élèves bourguignons. Des questionnaires destinés aux différents acteurs (enseignants et élèves) ont permis de collecter des données variées. L'ensemble des données a été analysé à l'aide de modèles multivariés. Les résultats montrent que 1°) les pratiques musicales développent des compétences et qu'elles expliquent l'effet de l'origine sociale sur les acquis musicaux en début d'année ; 2°) les effets enseignant expliquent environ 6% de la variance des scores finaux entre élèves en éducation musicale ; 3°) les facteurs contextuels qui ont des effets significatifs sur les progressions sont tous dirigés vers le développement des acquisitions des élèves ; 4°) l'intérêt des élèves influence leurs acquisitions et est lui-même fortement dépendant de leur niveau scolaire musical et dans les disciplines générales.
24
Perkins, Seth. „Personality and music : an examination of the five-factor model in conjunction with musical preference /“. Norton, MA : Wheaton College, 2008. http://hdl.handle.net/10090/5777.
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Gomez, Boluarte Daniel Felwig. „Las canciones de cuna en el universo musical andino. Un estudio de caso sobre los factores musicales asociados a este tipo de canciones que las unifican en el repertorio“. Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/17495.
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Las canciones dirigidas al infante son un género musical que aparece en la música de diversos
grupos humanos. Dentro de este grupo podemos reconocer canciones dedicadas al juego, al
aprendizaje, al sueño, así como a la muerte y los funerales. Es en este género en donde también
encontramos a las canciones de cuna. Estas son un tipo de canciones, emitidas por los adultos
hacia los bebes y niños, con el fin de conseguir la relajación y el sueño. A su vez, cargan con
información cultural relacionada a las concepciones de bienestar, salud, roles, concepciones
sociales. Existen propuestas, relacionadas a lo sicológico y al lenguaje, que sugieren que estos
cantos generan esta reacción positiva en los niños al configurar, estos mismos cantos, un código
de lenguaje que resulta atractivo para ellos. Es decir, que contienen características efectivas
para su comunicación. La propuesta de la presente investigación sostiene que estas
características de comunicación, adaptadas para el lenguaje de los niños, no son aquellas
pertenecientes al área de lo narrativo o lo temático de las canciones. Sino que, en vista de que
los bebes o niños no son aún seres con un dominio completo del idioma (sus palabras y/o
significados), las canciones encuentran el elemento efectivo de comunicación en el otro
lenguaje presente: la música. Serán entonces estos caracteres musicales, relacionados a su
composición e interpretación, los que configurarán la eficacia del repertorio y su empleo. Para
ello, la presente investigación trabajará el fenómeno de las canciones de cuna dentro de un
panorama musical cuya comunidad académica, no ha abordado el estudio de las canciones: el
panorama musical peruano, en específico, el panorama musical andino. Para ello, se trabajará
con los migrantes de Apurímac en Lima con quienes se realizarán entrevistas y recopilaciones
de estas canciones, sobre las cuales se realizarán análisis de corte musical sobre características
y parámetros también musicales que aparecen asociadas en las canciones de cuna registradas.The infant-directed songs are a musical genre that appears in many human societies. Among this group we can find songs dedicated to play, to learn, to sleep, and even also to death and funeral moments. Is in this genre where we also find the lullabies. These are a type of songs, sung by adults to babies and children, that intend to achieve relaxation and sleep. Within them, they also carry cultural information related to wellbeing concepts, health, roles in society and social concepts. There are proposals, related to psychology and language, that suggest that these songs generate this positive reaction on children as they use language codes that are in itself attractive to the children. This means that, they have effective characteristics for their communication and purposes. The proposal of this investigation holds that this communication characteristics, adapted for the language of the children, are not ones among the areas of the narrative, lyrics or narrative topics of the songs. Instead, having account that the babies or infants are not yet fully capable of all the idiom elements (like its words and meanings), the songs acquire their effective communication element on the other language present: the music. These musical characteristics, related to the songs composition and performance, will be then the ones that will generate the effectiveness of the repertoire and its use. For these purposes, the current investigation will study the subject of the lullabies inside a musical universe that has not engaged the study of the songs: the Peruvian musical universe, in specific, the Peruvian Andean musical universe. For that, we will work with the Apurimac’ migrants in Lima with whom the investigation will perform interviews and cumpilations of these songs, from which later, musical analysis about the characteristics and musical parameters that appear in the registered lullabies will be performed.
Tesis
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Viala, Romain. „Towards a model-based decision support tool for stringed musical instruments making“. Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCD002.
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Ce travail de thèse propose un transfert de méthodes industrielles et de recherche que sont le prototypage virtuel et la caractérisation mécanique des structures vers l'artisanat d'art : la fabrication des instruments de musique à cordes, plus particulièrement la guitare et le violon.Ce domaine, historiquement éminemment empirique, est étudié ici avec des critères objectifs. Le travail porte principalement sur le comportementmécanique vibratoire de ces instruments de musique. Le comportement mécanique du matériau utilisé (bois de lutherie) est tout d'abord étudié, et une méthode non-destructive proposée et appliquée à l'épicéa et à l'érable. La fiabilité des modèles numériques et ensuite étudiée par des méthodes de vérification et de validation de modèle, habituellement utilisées dans les domaines industriels et de recherche Les modèles développés sont ensuite utilisés en support à l'étude de phénomènes complexes de l'acoustique musicale appliquée au violon et à la guitare. Pour finir, l'utilisation de ces méthodes numériques pour une application concrète en facture instrumentale (prise de décision en milieu incertain, innovation de la géométrie et des matériaux) est proposéeThis work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed
27
Gee, Travis (Travis Lloyd) Carleton University Dissertation Psychology. „Mental factors in jazz performance“. Ottawa, 1992.
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Daigle, Véronique. „La vie musicale de cinq jeunes filles suivant des leçons extrascolaires d'instrument de musique : les facteurs contribuant à leur engagement pour la pratique d'activités musicales au quotidien, et la perception de leur professeur et parent sur leur vie musicale“. Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/31124.
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Les jeunes qui suivent des leçons d’instruments de musique en contexte extrascolaire éprouvent des problèmes importants de motivation à de multiples égards qui amèneraient plusieurs d’entre eux à abandonner leurs études musicales. À titre d’exemple, McPherson et Davidson (2006) estiment que la majorité des jeunes qui amorcent l’apprentissage d’un instrument abandonnerait leurs leçons durant leur première année d’étude. De plus, plusieurs études démontrent que la valeur que l’apprenant accorde à l’apprentissage formel de la musique diminue grandement une fois qu’il entre à l’école secondaire (Discroll, 2009 ; Lowe, 2011 ; McPherson et O’Neill, 2010). Pourtant, ces mêmes jeunes démontrent un intérêt croissant pour les activités musicales réalisées de façon informelle à l’extérieur de l’école, et ce phénomène serait présent dans plusieurs pays (McPherson et O’Neill, 2010). En fait, les jeunes n’apprennent plus uniquement la musique qu’à travers un cadre formel d’apprentissage (Peluso, 2012), mais également par la réalisation de multiples activités musicales, incluant celles pratiquées en contexte informel de manière volontaire au quotidien. Pour motiver davantage l’élève, il s’avère pressant que les enseignants cherchent à établir davantage de liens significatifs entre leur enseignement formel et les expériences musicales vécues par leurs élèves en dehors de leurs leçons (Peluso, 2012). Toutefois, avant d’y parvenir, nous avons besoin d’avoir une meilleure compréhension des activités que les jeunes réalisent de façon autonome, et des actions déjà mises en place par leurs professeurs pour établir ces liens. Cette recherche doctorale visait donc à combler ce besoin. Pour y parvenir, ce projet a été structuré autour de cinq objectifs. Le premier visait à identifier, décrire et catégoriser les pratiques musicales réalisées au quotidien par des élèves suivant des leçons extrascolaires d’instruments de musique. Le second était d’identifier les raisons qui les amènent à s’engager dans la réalisation d’activités de ce type. Le troisième était de décrire l’effet de ces activités sur l’engagement musical du jeune. Le quatrième était d’examiner l’intérêt de leurs professeurs d’instrument pour ce type d’activités et les liens qu’ils cherchent à établir entre ces activités et l’enseignement formel qu’ils offrent à leurs élèves. Le cinquième et dernier objectif était de vérifier les habitudes musicales des élèves auprès de leurs parents et leur opinion par rapport à ces activités. Cinq élèves, cinq parents et cinq professeurs d’instruments ont pris part à l’étude. Différents types de données ont été collectées : questionnaire, enregistrement vidéo, entrevue, observation, prise de notes et journal de bord. Les résultats mettent en exergue que les jeunes pratiquent une grande variété d’activités musicales au quotidien, et sont réalisées dans une diversité de contextes. Pratiquées volontairement par l’élève, ces activités sont majoritairement réalisées en contexte informel et sont grandement motivantes pour le jeune, comparativement aux activités réalisées en contexte formel d’apprentissage. De plus, les thèmes expliquant l’engagement musical des participantes sont conceptualisés de façons différentes par l’élève et le professeur. Plus précisément, les professeurs tendent à voir l’environnement d’apprentissage de façon séparée et sans interrelation avec les autres facteurs pouvant influencer l’engagement musical des jeunes, alors que l’élève considère que ces divers facteurs sont interreliés entre eux et interagissent l’un sur l’autre. Les résultats mettent également en évidence des particularités et des différences individuelles caractérisant l’engagement musical de chacun, tout en observant néanmoins certaines similitudes entre les participantes. En terminant, les résultats offrent des pistes de réflexion sur la manière d’établi r de liens entre les activités musicales des participantes et leur apprentissage formel.Evidence from the literature in music education indicates that students taking private music lessons outside the school system often experience motivational problems that result in their giving up formal music learning. There are two critical periods associated with this problem; in the first 18 months of learning (McPherson & Davidson, 2006) and following the transition from elementary to secondary school. Studies have also demonstrated a decrease in young people’s valuing of music learning when they start secondary school (O’Neill, 2001). However, those same students tend to show a growing interest in informal musical activities that take place outside of school, and this phenomenon has been found in several countries (McPherson & O’Neill, 2010). Not only do youth learn music through formal learning approaches (Peluso, 2012) , they also learn through multiple voluntary musical activities, including informal ones. To foster musical learning and engagement, it is important for teachers to establish links between their formal pedagogy and their students’ musical experiences (Peluso, 2012). In order to do that, we need a better understanding of young people’s music learning activities, including informal music learning experiences. To addresses this gap in our understanding, the first objective of this study was to identify, describe and categorize all the music learning activities performed daily by students taking private music lessons outside of the school system. The second objective was to identify the reasons why students engage voluntarily in their music learning activities. The third objective was to describe the influence of these activities on students’ music engagement. The fourth objective was to examine instrumental teachers’ interests in their students’ music activities and what teachers did to establish links between those activities and their music pedagogy. The last objective was to compare students’ perceptions of their musical activities with their parents’ perceptions and opinions about those activities. Five students, five parents and five teachers took part in the research. Many different forms of data collection were used: observations, video recordings, notes, interviews, questionnaires and e - journals. Results indicated that the students engaged in a wide variety of musical activities that took place within a diverse range of contexts. Results also indicated that informal music learning activities tended to motivate students to engage in music more than formal music learning practices. Furthermore, the way teachers and students talked about the students’ musical environment was different. For the students, all the factors were interrelated and interacted with each other, whereas, for the teachers there was a lack of interconnection. Results also indicated similarities between the participants as well as differences regarding their musical engagement and learning ecologies. Finally, the results indicated avenues for reflection on how to foster links between students’ music activities and teachers’ pedagogical approach.
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Vauthrin, Camille. „Acoustique et respiration dans le jeu musical des instruments à vent : application aux flûtes“. Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066388/document.
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Cette thèse présente une étude acoustique des instruments de musique de type flûte, enrichie par l'analyse de la respiration chez les flûtistes.Le flûtiste acquiert au cours de son parcours musical un contrôle expert du jeu de son instrument. Les contrôles développés par le musicien dépendent des libertés et contraintes apportées par son expertise musicale, sa physiologie respiratoire, la consigne musicale et la réponse acoustique de la flûte. Etudier les techniques de jeu nécessite de considérer le flûtiste et son instrument comme un ensemble.D'une part, ce travail porte sur l'étude de la réponse acoustique de la flûte à travers deux études: l'une concernant l'apport de l'acoustique linéaire lors de la conception d'un nouvel instrument par un facteur, l'autre portant sur l'influence de la position des lèvres du flûtiste. Ce travail permet de mettre en lumière les irrégularités du comportement acoustique de la flûte selon le doigté et amène à étudier comment le flûtiste les compense.D'autre part, nous étudions les stratégies respiratoires développées par le musicien au cours du jeu, afin d'obtenir une analyse et une compréhension fines des relations entre les paramètres de contrôle respiratoires et aéro-acoustiques dans un contexte musical. Nous répondons à deux questions : comment le flûtiste adapte sa respiration aux consignes musicales, et quand commence le jeu musical. Enfin, nous nous sommes intéressés aux efforts respiratoires développés par le musicien, en termes de travail et puissance. Une nouvelle question est posée : comment le flûtiste met à profit son système respiratoire afin de réaliser et/ou de faire entendre une intention musicaleThis thesis presents an acoustical study of flute-like instruments, which is developed by the analysis of flautist’s breathing. The flautist acquires during his musical background an expert control of his instrument. The control developed by the musician directly depends on the freedoms and constraints provided by the musician musical expertise, his respiratory physiology, the musical tasks and the acoustic behavior of the flute. Studying the playing techniques requires us to consider the flautist and the instrument as a whole.First, this work focuses on the study of the acoustic response of the flute through two studies: one on the contribution of the linear acoustics in the design of a new instrument with a flute-maker, the other on the influence of the position of the flautist’s lips. This work allows us to highlight irregularities in the acoustic behavior of the flute according to the fingerings, and leads us to study how the flautist compensates them. Secondly, we study the respiratory strategies developed by the musician while playing, in order to obtain detailed analysis and understanding of relationships between respiratory and aeroacoustic control parameters in a musical context. We answer two questions: how does a flute player adapt his breathing and playing to musical tasks, and when does the musical playing begin. Finally, we were interested in the respiratory efforts developed by the musician, in terms of work and power. A new question is asked: how does the flautist use his respiratory system in order to achieve and/or to highlight a musical intention
30
Sanjuán, Cortés Iván. „El papel del batería en el jazz contemporáneo. Factores que inflluyen en la creación de un lenguaje musical propio“. Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/22354.
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La elección de este tema para mi investigación nace a partir de algunas preguntas que
me formulo como músico y artista, éstas son: ¿Cuál es mi papel como instrumentista
dentro del jazz actual? ¿Por qué puede interesar, o no, lo que ofrezco como artista? ¿Es
bueno poseer un estilo musical personal y diferenciado? A raíz de estas cuestiones
decido abordar este trabajo sin la intención de establecer verdades absolutas sobre la
interpretación en batería en el jazz contemporáneo, pero sí con el interés de analizar lo
que realmente sucede en el mundo de la batería jazz hoy en día. A partir de estudios
bibliográficos y trabajo de campo analizaré el papel que juega como intérprete el batería
dentro del jazz contemporáneo y cuáles son las cualidades que éste debe desarrollar para
desenvolverse dentro del jazz actual. Este trabajo también tratará sobre los aspectos que
influyen en la conformación del estilo o lenguaje personal del batería de jazz; ABSTRACT: The role of the drummer in the contemporary jazz.
Influential factors in the creation of a personal musical language.
The selection of the topic of my research emerges from the questions that I ask myself
as a musician and as an artist. These questions are the following: Which is my role as a
musician in today´s jazz scene?; Why what I offer as an artist would be interesting or
no?; Is it valuable and positive to have a personal and characteristic style? I decided to
develop my research from this starting point, not seeking the statement of absolute
truths, but with the purpose of making an analysis of the actual role of drums in today´s
and contemporary jazz scenes. Based on bibliographic research and also on fieldwork I
will make an analysis of the role of the drums players in today´s jazz and what are the
skills and qualities that drums players needs for effectively performing their
professional activity in the contemporary jazz scene. This research work will also deal
with the aspects that influence the conformation of the style or personal language of
a jazz drummer; RESUMO: O papel do baterista no jazz contemporâneo.
Factores que influenciam a criação de uma linguagem musical própria.
A escolha deste tema para a minha investigação nasceu de algumas questões que eu me
formulei como músico e artista. Tais são: Qual é o meu papel como instrumentalista
dentro do jazz atual? Por que deveria interessar, ou não, o que eu ofereço como artista?
É bom ter um estilo musical pessoal e diferenciado? Seguindo estas perguntas, decido
resolver este trabalho sem a inteção de estabelecer verdades absolutas sobre a
interpretacão da bateria no jazz contemporâneo, mas sim com o interesse de fazer uma
analisse do que realmente acontece no mundo da bateria jazz hoje em dia. A partir de
estudos bibliográficos e um trabalho de campo tentarei fazer uma análise do papel
desempenhado como intérprete do baterista dentro do jazz contemporâneo e quais são as
qualidades que este deve desenvolver para se valer no jazz atual. Este trabalho também
tratará sobre os aspectos que influenciam na conformação do estilo ou a linguagem
pessoal do baterista de jazz.
31
Williams, Blair A. „String instrument choice: a study on external factors“. Thesis, Kansas State University, 2012. http://hdl.handle.net/2097/13720.
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Master of MusicDepartment of Music
David Littrell
An aspect of instrument choice that has not been studied in such abundance as the topics of timbre and gender associations of instruments are the influences of external factors, such as ensemble director, parent and family, friends, academic diversity, travel opportunities, and medical reasons as examples; however, these factors have been briefly addressed in word alone in many of the studies completed for related examinations. This study is integral in defining how music educators can better identify supplementary factors in addition to the timbre and gender association studies that will further influence students to choose to play an instrument and more specifically a string instrument. The findings can be applied to band, choir, theater, ROTC, and any other student organization as these factors are contributions and experiences from the student’s life previous to the presentation of the new activity. The current study focuses primarily on string instrument choice as gathered from a pilot survey using a string youth symphony ensemble from the Midwest as subjects and then high school students from three different but similar districts also in the Midwest. The information provided by the students was in agreement with previously performed studies; however, it also featured truths specifically unique to the ensemble and communities in which they were gathered. The researcher will seek to answer the following research questions: 1) What are the three most influential external factors that contributed to the student’s choice to begin string instruction? 2) How are these factors related to the musical culture of the student including opportunities for participation as well as observations? 3) Are family influences stronger than teacher/friend influences? 4) How does the strength of the string community (school and community) affect the beginning string student based on student perceptions of the two communities? Using descriptive statistics, the three most influential external factors contributing to the student’s string instrument choice in the pilot study were Parents, Private lesson teacher, and Other family. The three most influential external factors for the high school students were Parents, Live performance, and Friends. The three most influential external factors for High School #1 were Parents, Live performance, and Elementary Orchestra Teacher. For High School #2, the top three were Parents, High School Orchestra Teacher, and Friends. In High School #3, Parents, Live Performance, and Private Lesson Teacher were shown to be the student’s most influential external factors. In each case, Parents were reported as the most influential external factor for string instrument choice among the populations of students surveyed. When teachers determine recruitment activities, they must recruit the parent, which begins the moment the public school teacher is hired in the orchestra teaching position. Overall, parental influences trump all other external factors in the list examined by this population, which was slightly dissimilar than the review of the literature suggested.
32
Santiago, Mia B. „Risk Factors“. The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619120045259618.
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Mohd, Ghazali Ghaziah School of Music & Music Education UNSW. „Factors influencing Malaysian children???s motivation to learn music“. Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/23000.
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Children???s attitudes towards music reflect the socializing practices of their family, parents, peers, school, and the society in which they live. The fact that the Malaysian school system has offered school music since 1983 with very few attempts to understand the impact of this subject among the children themselves highlights the need for investigations which can clarify the extent to which school music education has influenced children???s perceptions of learning music. The purpose of this dissertation was to examine the personal and external factors, which help shape Malaysian children???s valuing for the formal learning of music both in and out of school. Surveys of 1,060 primary school children aged 9 to 12, as well as interviews with a smaller sample of music learners, were undertaken to investigate children???s motivation to learn music. The Expectancy???Value theory of Jacquelynne Eccles and Allan Wigfield acted as a framework to investigate motivational constructs dealing with ttainment, intrinsic interest, and utility values, in addition to the cost factor related to learning music. In the first part of the analyses, survey results were categorized according to the three main ethnic groups in Malaysia, subdivided into five ethnic???religion groups (i.e., Malay Muslims, Chinese Buddhists, Chinese Christians, Indian Hindus and Indian Christians), musical experience (learners, non???learners and those who had ceased learning) and gender. The second part of the analyses focused on the responses of 20 music learners in order to enrich the data obtained in the first part of the analyses. Results revealed that most children, regardless of ethnicity, were intrinsically motivated to learn music in school. Moderately high perceptions of enjoyment and interest, as well as recognition for music???s utility value were prominent among all ethnic groups. However, most children, regardless of ethnicity, musical experience and gender did not perceive learning music in and out of school as having high attainment value, with a majority indicating moderately low responses for the importance of learning music. Differences among ethnic groups revealed that Chinese and Indian children perceived the utility value of musical training mor than Malay children, who were also more inclined to perceive learning music as difficult and involving more cost. Significant differences for gender also revealed that girls recognize more intrinsic and utility value of learning music bothin and outside school. An important implication arising from the study is the importance of music advocacy throughout Malaysian society. This thesis asserts the right of all Malaysian children to have access to a quality music education that assists in developin all of their potentials. However, it also recognizes that a great deal of work is needed in order to ensure that the discipline of music is more highly regardedwithin all sections of the Malaysian educational system.
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Van, Rooyen Anrie Sophia. „Exploring the lived experiences of adolescents in a children's home participating in a choir : a community music therapy perspective“. Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/58767.
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Phenomenological research was conducted to explore the lived experiences of adolescents in a Children’s home who participate in a choir that is facilitated from a community music therapy perspective. The case study involved 16 weekly choir sessions, where a variety of vocalisations and interactive vocal interventions were implemented. A performance marked the end of the process, where preferred songs were performed. Fourteen adolescents residing in Bramley Children’s Home participated in the choir and the research. Qualitative data was collected through 14 semi-structured individual interviews at the end of the process. All interview transcripts were analysed through utilising interpretative phenomenological analysis. The study concluded that participation in the community music therapy choir offered the adolescents perceived meaningful intra- and interpersonal experiences. At an intrapersonal level, the participants lived experience entailed discovering their musical voices, accessing inner strength to take action both in the here-and-now and in the future as well as experiencing a healthier picture of themselves through increased self-awareness, self-esteem and self-confidence. Utilising cognitive skills and experiencing, expressing and regulating emotions were also included in the in the intrapersonal findings. In terms of interpersonal experiences, the adolescents perceived growth in relationships, improved social skills, social harmony and connection into the community. An important finding in this study that drew on a community music therapy focus is connection into the community, where the adolescents are experiencing sustaining relationships and continuous musiking within their communities.Dissertation (MMus)--University of Pretoria, 2016.
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Hicks, Ann Marie. „Factors Influencing the Teaching of Instrumental Music in Rural Ohio School Districts“. The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275443334.
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Lundin, Viktor. „Reflektioner om musikundervisning : framgångsfaktorer i skapandet av lärandemiljöer i musik“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95928.
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The purpose of the study is to study, from a teacher's perspective, how music teachers describe how they identify success factors for good musical learning environments in music teaching as well as what teachers need to be able to implement it.. The study has a hermeneutic perspective with the hermeneutic circle as a concept. To study how music teachers reflect and reason about success factors and learning, a qualitative semistructured interview study with music teachers who work at secondary school and high school were conducted. Previous research reports on various factors that influence music education from different perspectives such as teacher education, student, music teacher and evaluation perspectives. Results show that the music teachers are satisfied with their teaching situation in many ways and at the same time they see opportunities for improvement. Improvement opportunities that can be difficult to obtain. The discussion clarifies similarities between the previous research but also differences in how the Swedish music teacher works with student focus as a priority. The discussion provides suggestions for further research on the subject where the researcher sees further research on whole and half class in music education and how students view the quality of music education within it.
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Rives, David Michael. „Factors influencing performance standards for professional opera singers from 1600 to the present time“. Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244136822.
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Dyal, Edith Irene Colvin. „An examination of factors which associate with a successful outcome in piano lessons /“. Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169643.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).
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Petersen, Jr Gerald Anthony. „Factors Contributing to Arizona Elementary General Music Teachers' Attitudes and Practices Regarding Multicultural Music Education“. Diss., Tucson, Arizona : University of Arizona, 2005. http://etd.library.arizona.edu/etd/GetFileServlet?file=file:///data1/pdf/etd/azu%5Fetd%5F1109%5F1%5Fm.pdf&type=application/pdf.
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Mare, Minette. „Influential factors in the application of flute vibrato“. Thesis, Stellenbosch : University of Stellenbosch, 2008. http://hdl.handle.net/10019.1/1718.
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Thesis (MMus (Music))--University of Stellenbosch, 2008.This thesis provides an overview of different aspects of the application of vibrato on the flute. Although it is a compilation of different viewpoints, it does not offer a conclusion as regards the ‘correct’ application of vibrato, due to the subjective nature of this phenomenon. The intention is that the reader will be able to reach his or her own conclusions and form new opinions regarding this subject. The focus is largely on the comparison of the production of vibrato on the flute with its production on other instruments. The aim is to examine the different choices involved in the production of vibrato when the flute is part of an ensemble and when it is a solo instrument. By learning more about other instruments’ timbres and production of vibrato, it enables flautists to adapt to different timbres in order to form sonorous ensembles. The physiological and scientific aspects of vibrato are also explored with the view to equip flautists with this knowledge. Thus, flautists will be able to listen to and analyse from a more critical and informed perspective how they themselves use vibrato and how other flautists use it. The main goal of this thesis is to provide enough information, opinions, studies and statistics to enable a flautist to make an informed decision concerning their choice and application of vibrato.
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Fjellman-Wiklund, Anncristine. „Musicianship and teaching : aspects of musculoskeletal disorders, physical and psychosocial work factors in musicians with focus on music teachers“. Doctoral thesis, Umeå universitet, Fysioterapi, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-99338.
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Musculoskeletal disorders are common among musicians at all levels of performance. Since music teachers train our future musicians it is important to understand their work environment. By creating good examples of a healthy work environment, they can teach their students how to stay healthy and to prevent pain. The aim of this thesis was to study the work environment of music teachers at municipal music schools, with regard to physical and psychosocial factors and musculoskeletal disorders with the focus on neck and shoulder disorders. An additional aim was to investigate the variability of the playing technique in string players and to investigate if they could play with greater variation in the trapezius muscle activity pattern after a training intervention program. In a cross-sectional study at 23 municipal music schools, 171 out of the 208 (82%) music teachers reported that they had experienced work related musculoskeletal disorders (WMSDs) during the previous year. Women reported significantly more symptoms in the neck, the shoulders and the upper back compared to men. Both physical and psychosocial work factors were associated with neck and shoulder disorders. For women “high mental work demands” and “teaching at many schools” could be seen as risk factors and for men “lifting”, “playing the guitar” and “low social support at work” were risk factors. The occurrence of WMSDs was also investigated, over an eight-year period, in music teachers at one music school. The result showed that neck, shoulder and lower back disorders were common and tended to be of long duration and to increase over the years. In an interview study, nine music teachers focused on what they perceived to be important for their health and well-being. Replenishing and using up energy was found to be the core category. Creativity in the music and working with other musicians were perceived as sources of energy, while the goals of the organisation were experienced as stressful and used up energy. Whether the work was regarded as pedagogical or musical could affect the perception of health and the strategies for dealing with the strains of work. In two studies using electromyography, the variation in the trapezius muscle activity pattern in string musicians was investigated. The results suggested that each musician could repeat their muscular activity pattern in a similar way between two playing sessions. No difference was found in the trapezius muscle activity between five violinists who trained basic Body Awareness Therapy (BAT), a technique having its roots in Tai Chi Chuan tradition, compared to a reference group of nine violinists who did not take part in any training. However, the training group perceived positive changes in breathing, muscular tension, postural control and concentration during practice sessions. Neck and shoulder disorders were associated with physical and psychosocial factors at work. A process of replenishing and using up energy was important for music teachers’ health. The playing technique in string musicians seemed to be repeatable but difficult to affect over a short-term period. For future musicians it is crucial to learn good working technique at an early age. In the learning process the music teacher is a vital role model.Diss. (sammanfattning) Umeå : Univ., 2003, Härtill 5 uppsatser
digitalisering@umu
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Silva, Lígia Borges. „O factor idade no ensino e aprendizagem de flauta transversal“. Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/6452.
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Mestrado em Música para o Ensino VocacionalNeste projecto procedeu-se à comparação da aprendizagem de flauta transversal de dois grupos de alunos: alunos adultos e crianças. Nenhum dos alunos tinha conhecimentos musicais relevantes e todos tiveram o mesmo número de aulas leccionadas pela mesma professora. Ao fim de 12 aulas foi possível comparar os comportamentos e aquisições de competências dos dois grupos de alunos. Desta forma procurou-se estabelecer um perfil do aluno adulto e discutir quais as suas necessidades, vantagens e desvantagens quando comparado com um aluno mais jovem. Numa fase final tentou-se indicar procedimentos e métodos de ensino adequados ao ensino de flauta transversal a adultos.
In this Project we compared the early learning of flute of two group of students: adults and children. None of the students had relevant musical knowledge and all the students had the same number of flute lessons, taught by the same teacher. After 12 lessons we compared behaviours and level of skills acquired by the two groups of students. With this knowledge we tried to draw a profile of the adult student, with his needs, advantages and disadvantages, comparing to a young student. At the end we suggested procedures and teaching methods more adequate to adult flute students.
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Vert, Alcover Carles. „La aptitud musical y numérica durante la adolescencia: aplicación del test de Seashore y el factor -N- del Bat-7 a un estudio comparativo“. Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/458015.
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Realizamos un trabajo de campo con 200 alumnos de 1º, 2º, 3º y 4º de Educación Secundaria, y les aplicamos dos pruebas: el Test de aptitud musical de Seashore, y el Test de aptitud numérica del BAT-7; una vez analizados los resultados observamos que existe una relación intrínseca entre el nivel de aptitud musical y numérica de los participantes; respecto al género, no se observan diferencias estadísticamente significativas entre los participantes masculinos y femeninos, y que el nivel educativo ejerce una influencia positiva en la discriminación de las variables que miden la aptitud musical y numérica.We performed a fieldwork with 200 students of 1st, 2nd, 3rd and 4th of Secondary Education, and we applied two tests: the Seashore Musical Aptitude Test, and the BAT-7 Numerical Aptitude Test; once the results were analyzed we observed that there is an intrinsic relationship between the level of musical and numerical aptitude of the participants; with respect to gender, there are no statistically significant differences between male and female participants, and that the educational level exerts a positive influence on the discrimination of variables that measure musical and numerical aptitude.
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Wilmotte, Marie-Hélène. „La flûte traversière et le système Böhm : 200 ans d'histoire, d'enjeux et d'enseignement : du début de XIXe siècle au début du XXIe siècle“. Rouen, 2009. http://www.theses.fr/2009ROUEL001.
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La flûte Böhm a connu un formidable essor depuis sa création. Le propos de ce travail est de déterminer la place occupée par les nouvelles flûtes dans la création musicale du XIXe siècle à nos jours, en étudiant les innovations organologiques, les enjeux et les enrichissements musicaux et pédagogiques intrinsèquement liés. Les rencontres multipolaires de métallurgistes, spécialistes en traitements de surfaces, de facteurs, de compositeurs, de pédagogues et d'interprètes nous permettent d'approcher l'étude de la facture de la flûte traversière au XXe siècle de manière très complète, aboutissant sur des propositions d'innovations et d'expériences futures. La démonstration de la thèse porte sur les implications croisées de l'évolution du système Böhm, la création musicale, l'enseignement et l'évolution de la facture de la flûte traversière, et le lien de cet instrument au concept d'art-scienceDuring 1960s, the instrument still develops : creation of instruments which can reach(affect) surprising tessituras, development of flutes intended for the youngest pupils. . . The comment of this work is to determine the place occupied by the new flutes in the musical creation of the XIXth century in our days, by studying the organologiques innovations, the stakes and the intrinsically connected musical and educational enrichments, as testimony of a tremendous vitality of the traverse flute. The multipolar meetings of metalworkers, specialists of surface treatments, factors of flutes, composers, teachers and interpreters allow us to approach the study of the invoice of the traverse flute in the XXth century in a very complete way, succeeding on propositions of innovations and future experiments. The crossed involvements of the evolution of the system Böhm on the musical creation, the education and the evolution of the invoice of the traverse flute, and al's link flute Böhm in the concept of art-science are demonstrated
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Hedgecoth, David M. „Factors Influencing the Programming Practices of Conductors of Mid-Level Collegiate Ensembles“. The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338233451.
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Lewis, Lisa Michele. „Twelve nouvelle impressions : historical and cultural factors relating to the performance of Isaac Albeniz's Iberia Suite /“. Thesis, Connect to this title online; UW restricted, 1998. http://hdl.handle.net/1773/11222.
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Justus, Linda Blankenship. „Factors That Contribute to Enrollment in Band Programs“. Diss., Virginia Tech, 2001. http://hdl.handle.net/10919/26898.
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The purpose of this study was to examine factors that band directors may be able to use in enhancing enrollment in band programs. The categories of predictor variables were school leadership, level of support, student characteristics, band leadership, and band leader characteristics. There was one criterion variable, band enrollment. Stepwise multiple regression was used to determine which predictor variables explained a portion of the criterion variable, band enrollment.
A sample of 400 active band directors was drawn from the membership of the American School Band Directors Association. A table of random numbers was used to select the sample. Data were collected from responses to a questionnaire that was mailed to all persons in the sample. Usable responses were received from 250 males and 65 females.
Results of a stepwise multiple regression indicated that five variables accounted for 86.7% of the variance in band enrollment. These five variables in the order of the amount of variance accounted for are (1) the total number of students in the band director's school, (2) the relationship between the band director and constituents (principal component one), (3) revenue per band student, (4) proportion of students on free or reduced-price lunch in the band director's school, and (5) race of the band director.
One of the main implications of this study appears to be broadly associated with the kinds of relationships a band director develops with the members of the band community. Even though the band director cannot do anything about the size of the student body, the challenge is for band directors to use strategies that enhance their relationships with the band community.Ed. D.
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Cruz, de Menezes Ruth. „Les stratégies cognitives utilisées lors de la transcription musicale et des facteurs cognitifs pouvant influencer leur résultat“. Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27434/27434.pdf.
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Liljeström, Simon. „Emotional Reactions to Music : Prevalence and Contributing Factors“. Doctoral thesis, Uppsala universitet, Institutionen för psykologi, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-151605.
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People value music mainly for its abilities to induce emotions. Yet little is known about these experiences. The aim of this thesis was thus to investigate the nature and prevalence of emotional reactions to music, and what factors in the listener, the music, and the situation might contribute to such reactions. Study I explored the prevalence of musical emotions and possible factors influencing such experiences through the use of a questionnaire sent out to a random and nationally representative sample. The results indicated that a majority of the responders frequently reacted emotionally to music, and that their reactions included both basic and complex emotions. Prevalence correlated with personality, gender, age, and music education. Study II was designed to obtain a representative sample of situations where music induced emotions in listeners. The results showed that emotional reactions to music occurred in 24% of all episodes, and that the prevalence of specific emotions varied depending on the situation (e.g., other people present). However, causal inferences could not be drawn from Study I and II, so it was considered important to test predictions in a more controlled setting. Study III showed in an experiment that listeners experienced more intense emotions (a) to self-chosen music than to randomly selected music and (b) when listening with a close friend or partner than when listening alone. Moreover, Openness to experience correlated with emotion intensity. All three factors were linked to positive emotions. Overall, the thesis shows that (a) musical emotions are relatively common, (b) music can induce a variety of emotions, and (c) there are several features in the listener, the music, and the situation that may influence emotional reactions to music.
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Lo, Ting-cheung, und 盧定彰. „Structural ordering in contemporary music: the perceptibility factor reconsidered“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B48199539.
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The multi-faceted nature of twentieth-century music is anything but familiar to
listeners who are accustomed to hearing Western music based on ideas steeped in the
classical tradition. The emergence of new tonalities and atonality as well as new
temporalities challenged and revolutionized commonly accepted notions of musical
sound and musical motion. The surge of new music characterized by the treatment of
sound as independent entity, the absence of functional tonality and the dissolution of
metric order has created new demands on the perceptual-cognition abilities of the
listener.
The perception of atonal musical works has been a subject of interest for many
scholars in the field of music cognition. The findings of recent studies addressing this
issue have pointed to the presence of salient features as an aid to the comprehension
of relationships between musical events in an atonal composition. Salient features
which effectively serve as structural cues include change/contrast and repetition, with
the latter emerging as the most frequently used and easily acknowledged form of
salience.
An examination of the role of repetition in the music of the post-serial American
composer George Crumb sheds light on how repetition, a common ingredient in many
conventional models of organization, is able to operate in atonal pieces as structural
cue to patterns underpinning the musical form. The investigation further reveals the
possible role of repetition, where it is associated with timbre, as clue to structural
direction in compositions that subscribe to the contemporary notion of musical
motion.published_or_final_version
Music
Master
Master of Philosophy