Dissertationen: „Sex in music“

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Luevano, Ryan M. „Everything's coming up sex! A survey of sex and sexual orientation on Broadway today“. Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1527393.

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Sissum, Melina. „A longitudinal content analysis of violence, sex, and drugs in rap music“. Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3208.

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Turner, Jacob S. „An examination of sexual content in music videos“. Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.51Mb, 223 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428252.

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4

Williams, Anna C. „Sex, Drags, and Rock'n'Roll: the Yeah Yeah Yeahs' and Devendra Banhart's subversion of sex and gender norms“. University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1337885390.

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5

Ruth, Mary-Louise. „My Kind of Music: Two New Orleans Stories“. ScholarWorks@UNO, 2003. http://louisdl.louislibraries.org/u?/NOD,33.

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Thesis (M.F.A.)--University of New Orleans, 2003.
Title from electronic submission form. "A thesis ... in partial fulfillment of the requirements for the degree of Master of Fine Arts in Creative Writing"--Thesis t.p. Vita.

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Larsson, Victor. „En minnesvård, varaktigare än bronsen : Om Hilding Rosenberg, musikhistorieskrivning och sex stråkkvartetter“. Thesis, Uppsala universitet, Institutionen för musikvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-154248.

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Abstract Victor Larsson: En minnesvård, varaktigare än bronsen – Om Hilding Rosenberg, musikhistorieskrivning och sex stråkkvartetter. Uppsala universitet: Institutionen för musikvetenskap, C-uppsats 2006. In the late 1950s, Swedish composer Hilding Rosenberg composed a number of new string quartets – nos. 7-12. These compositions were commissioned by Sveriges Radio and originally performed by Kyndelkvartetten. The string quartets received excellent critique and both reviews and analyses were published in Swedish periodical Nutida Musik. The aim of the essay is to, taking reviews from daily press and Nutida Musik as starting point, investigate in what context Rosenbergs music was presented. The fact that Rosenberg was working as a private teacher, and that some of his students were a part of the new generation of modernists in Sweden – Måndagsgruppen – is being discussed and a connection between Måndagsgruppen's overtaking of Swedish musical institutions and Rosenbergs increase in popularity is investigated.

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Arnold, Heather M. „Authenticity, style, and gender explorations in rockabilly /“. Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/6104.

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Thesis (M.A.)--University of Missouri-Columbia, 2008.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on September 22, 2008) Includes bibliographical references.

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Radford, Crystal Joesell. „In Defense of Rap Music: Not Just Beats, Rhymes, Sex, and Violence“. The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306255326.

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Lakhani, Ali Moneim. „Popular Music and Adolescent Sexual Health“. Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366767.

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Background There is public concern about the impact that exposure to sexual content in music is having on the sexual health of adolescents. In particular, exposure to sexual content in music has been identified as adversely impacting young people’s behaviour, and attitudes towards gender. In contrast, popular music has also been identified as a culturally appropriate tool to engage young people in sexual health education and promotion programs. By taking a broad definition of sexual health, this dissertation addresses knowledge gaps especially in regards to gender and body image. Consequently, this dissertation includes three studies focusing on the relationship between exposure to sexual content in popular music and adolescent sexual health, as well as the use of music in adolescent sexual health promotion. Method This dissertation includes three studies. The first study is a systematic literature review guided by the PRISMA (Moher, Liberati, Tetzlaff, & Altman, 2009) approach. The review involved three systematic searches for literature and aimed to synthesise: (i) research that investigated the association between exposure to music with sexual content and adolescents’ sexual behaviour, body image satisfaction, and attitudes towards gender, and (ii) research that explored the use of popular music for adolescent sexual health education and promotion initiatives. The second study involved the administration of a cross-sectional survey (n=565) and investigated the association between exposure to sexual content in music audio and video on adolescents’ attitudes towards women and their perception of their body image. Finally, the third study included group interview discussions and interviews with adolescents’ (n=7) to ascertain the messages that they receive from the music they listen to, how they thought exposure to these messages impacted their sexual health and how they thought popular music could be used in their sexual health education.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Human Services and Social Work
Griffith Health
Full Text

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Pennington, Stephan Joseph. „Made for love Marlene Dietrich, the Comedian Harmonists, and performances of gender at the end of the Weimar Republic /“. Diss., Restricted to subscribing institutions, 2010. http://proquest.umi.com/pqdweb?did=2007918571&sid=12&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Kimbrel, Deanna Niccole. „The visual analysis of heterogeneous sex role interactions : a content analysis of popular music videos /“. Online version of thesis, 2008. http://hdl.handle.net/1850/7904.

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Pelos, Ellen S. „The Influence of Advertisement Music on Gender Identity and Sex Stereotyping in Young Girls“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/772.

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This paper proposes a study that investigates whether manipulating pitch and tempo in children’s toy advertisement music has an effect on gender identity and sex stereotyping in preschool-aged girls. This particular intersection between advertisement, persuasion, gender identity, and sex stereotyping scholarship has not yet been explored. However, past research does suggest that high pitch and fast tempo have a significant positive impact on mood and arousal, two factors associated with more susceptibility to persuasive messages. The 3- to 4-year-old female participants will be randomly assigned to one of the nine advertisement conditions. The music in the ads for each condition will contain a combination of pitch variation (high, medium, or low pitch) as well as a tempo variation (fast, medium, or slow tempo) to create a fully-crossed design. The dependent variables, gender identity and sex stereotyping, will be measured in the lab before and after a 2-week period in which the the advertisement stimuli will be presented in the children’s homes. Based on previous research, higher pitch and faster tempo are expected to be associated with more stereotypical gender identity and more sex stereotyping in participants.

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Kitson, Michael E. „The Sex Pistols and the London mob“. Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.

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This thesis concerns the invention, improvisation, and right to ownership of the punk patent and questions the contention, put by the band’s manager, Malcolm McLaren, and other commentators, that the Sex Pistols and English punk were a Situationist prank. This challenge to what, in the majority of punk literature, has become an ‘accepted truth’ was first raised by McLaren’s nemesis, the band’s lead singer, John Lydon. McLaren and Lydon did agree that the London punk movement took its inspiration from the anarchic and chaotic energies of the eighteenth–century London mob. This common crowd could switch instantly and unpredictably from a passive state to an anarchic, violent and destructive mob, or ‘King Mob’: one that turned all authority on its head in concerted, but undirected, acts of misrule. Through his own improvisation with punk tropes, Lydon came to embody English punk and functioned, on the one hand, as a natural mob leader; and on the other, as a focus for the mob’s anger. I argue that, in following McLaren’s reduction of the Sex Pistols to a Situationistinspired prank, one of the earliest and most influential analyses of the punk phenomenon, Greil Marcus’s Lipstick Traces: A Secret History of the Twentieth Century, misunderstood how fundamental the culture and semiotics of the London mob was to McLaren, Lydon, the Sex Pistols and the performance of London punk. I take seriously, then, the idea that the cultural signifiers the Sex Pistols drew upon to make their punk performances, and which accounted in no small way for their ability to ‘outrage’, were exclusively British and unique to London’s cultural topography and the culture of the London crowd. After the implosion of the Sex Pistols on their 1978 American tour, with Lydon quitting in disgust, McLaren attempted to take ownership of the punk legacy: both actually, through attempting to assert his copyright over the Sex Pistols’ brand; and symbolically through re-writing the Sex Pistols’ story in his 1980 movie The Great Rock ‘n’ Roll Swindle. Curiously, and most notably, the mob is foregrounded in the film through its opening sequence, which draws heavily from the events of the Gordon Riots in 1780. This thesis contests the paradigm put in place by McLaren’s version of events as portrayed in The Great Rock ‘n’ Roll Swindle and reconsiders punk as a cultural object trouve. In particular, I consider literary influences on its protagonists: Graham Greene on John Lydon and Charles Dickens and J. M. Barrie on Malcolm McLaren.

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Larsson, Carina. „Sex pianisters uppfattning om a prima vista spel“. Thesis, Karlstad University, Division for Ingesund College of Music, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-1667.

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The main purpose of this study is to identify and compare classical pianists´ understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musician performing music thoroughly gone through.

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Kitson, Michael E. „The Sex Pistols and the London mob“. View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.

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Thesis (Ph.D.) -- University of Western Sydney, 2008.
A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.

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Blåberg, Elin, und Lisa Niemi. „"Det är lätt att lära om man sjunger på något vis" : En studie om hur sex förskollärare beskriver musik som ett pedagogiskt redskap“. Thesis, Jönköping University, School of Education and Communication, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-12625.

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Syftet med denna studie är att undersöka hur sex förskollärare beskriver musik som ett pedagogisk redskap i deras verksamhet. De frågeställningar som tas upp är:

- Hur beskriver förskollärare att de utövar musik i förskolan?

- Hur beskriver förskollärare musikens betydelse för barns utveckling?

Vi har valt att göra en kvalitativ studie med intervjuer som metod för att förstå förskollärarnas egna erfarenheter och åsikter i ämnet.

Resultatet visar att musik är en viktig del i förskolans verksamhet. Barnen använder musik i sin lek och spontansången är ett vanligt inslag som används vid exempelvis blöjbyten och påklädning. Musiken kan användas för att göra tråkiga stunder roliga, men också som ett hjälpmedel att fånga barns intresse och koncentration för att lära sig nya saker. Musik förbättrar barnens motorik, kroppsuppfattning och koordination. Musik har också stor betydelse för barnens språkutveckling, då den tycks ha en satsmelodi som är lättare att förstå och härma. Den glädje, gemenskap och rytm som uppstår i musikutövandet tillsammans är en orsak till att språket främjas. Musik kan också ge barnen möjlighet att bli delaktiga i aktiviteter och förskollärarna framhäver att barn tycker om musik, de blir glada av den och vill ha musik i sin vardag.

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Udikas, Brandels Axel. „"Om fylligt är runt, är ihåligt platt då?" : Sex saxofonisters samtal om sound“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2887.

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Langdon, Elizabeth A. „POPULAR MUSIC LYRICS AND ADOLESCENT SEXUAL BEHAVIOR AND ATTITUDES“. Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1336436590.

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Legaspi, Melissa M. „Gender Role Identity and Audience Perceptions of Music Videos“. Digital Archive @ GSU, 2006. http://digitalarchive.gsu.edu/communication_theses/9.

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The emergence in recent years of strong female musical artists asserting their sexuality as empowerment (Andsager & Roe, 2003; Gauntlett, 2002) has necessitated an evaluation of their depictions in music videos as perceived by contemporary target audiences. This study attempts to determine how viewers’ gender role identity, based upon gender schema theory (Bem, 1981; 1993) and measured through Bem Sex-Role Inventory (BSRI), relate to perceptions of female pop and hip hop artists’ music videos. It was hypothesized that sex-typed respondents would perceive portrayals as traditional more than other groups, whereas cross-sex typed respondents would perceive empowerment more than others groups. A convenience sample of 177 female undergraduate students was used for this cross-sectional study. Results did not support the hypotheses. Though some of the traditional items were found significant, no other significant differences emerged. Overall, gender role identity was ultimately found to have little relationship to perceptions of music video portrayals.

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Ritchey, Viktor. „Ur gitarrens synvinkel : en transkription och en analys av Béla Bartóks Sex rumänska folkdanser – Sats 1“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2353.

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Denna uppsats består av en analys och en transkription av första satsen ur Béla Bartóks Sex rumänska folkdanser. Sviten komponerades i originalform för solopiano, men flera arrangemang för andra sättningar har sedan gjorts. Den kanske kändaste bearbetningen arrangerades 1925 av Bartóks vän Zoltán Sékely som ett kammarmusikverk för piano och fiol. Då min bearbetning är avsedd för gitarr och fiol så har jag valt att begränsa mig till Sékelys arrangemang där jag har lämnat fiolstämman intakt och gjort en transkription på hans pianostämma. I analysen tar jag upp de rytmiska, melodiska och harmoniska motiven ur ett konstnärligt och analytiskt perspektiv. Under skapandet av transkriptionen har jag stött på vissa instrumenttekniska problem. Jag förklarar i mitt arbete hur jag löst dessa och diskuterar olika alternativ som lett fram till mina beslut. Både analysen och transkriptionen är till stor del baserade på de erfarenheter jag erhållit från mitt musikliv och mina studier vid Kungl. Musikhögskolan men även från utvald litteratur som utgångspunkt.

Bartok: Sex rumänska folkdanser

Gitarr: Viktor Ritchey; violin: Yngve Hilding

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Rich, Morgan. „Lulu and the undoing of men unveiling patriarchal conventions imposed and overturned in Alban Berg's opera /“. Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1225111576.

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Roth, Paul. „A new look at Jazz at Lincoln Center sex, race, violence, and hierarchy in Frederick P. Ross Hall /“. abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1456415.

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Lim, Megan Su Cheng. „Sex, drugs and young people : novel research and health promotion approaches“. Monash University. Faculty of Medicine, Nursing and Health Sciences. Department of Epidemiology & Preventive Medicine, 2008. http://arrow.monash.edu.au/hdl/1959.1/74616.

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Young people are at risk of sexually transmitted infections (STI), and engage in sex and drug related risk behaviour. This thesis investigates novel methods to reach youth for research and health promotion. Mobile phone text messages (SMS) are convenient, low cost, fast, and popular among youth. SMS has been utilised in sexual health for clinical management, service delivery and health promotion, but few of these projects have been evaluated. Recognising this lack of research led to the design of a randomised controlled trial investigating the use of SMS and email in sexual health promotion. Recruitment of young people for this trial was piloted at Melbourne’s Big Day Out. 939 young people were recruited in several hours; 30% were classified as being at high risk of STI, and 46% had used illicit drugs in the month prior to the survey. Knowledge of STI was poor. Drug use was associated with both sexual risk behaviour and music preference. The study demonstrated that this festival is a valuable site for sex and drugs research and health promotion. The following year, young people were recruited at the music festival and randomised to an intervention group who received regular sexual health SMS and email, or a control group who received no messages. After 12 months, the intervention group had higher STI knowledge than the control group (OR 2.72, 95%CI 1.68, 4.41) and intervention group females were more likely to have had an STI test (OR 2.51, 95%CI 1.11, 5.69). Respondents’ opinions of the messages were favourable. This simple, low-cost, and novel method was shown to be effective in improving young people’s sexual health. At-risk young people are not well represented in sex and drug behavioural surveillance in Australia. As the pilot study identified that a music festival was a suitable site for sex and drug research, the survey was repeated each year. Between 2005 and 2008, the proportion of young people at risk of STI decreased from 34% to 29%, and recent illicit drug use decreased from 46% to 43%. A limitation of the studies described herein is reliance on self-report, which is subject to recall bias; this can be reduced using diaries to collect behavioural data. Participants completed weekly diaries of sexual behaviour and a retrospective questionnaire. Correlation between the diaries and questionnaire was substantial, adding confidence to the validity of results of other studies in this thesis. Diaries can be collected in different ways; SMS has not previously been used for this purpose. Participants were randomised to complete diaries through SMS, online or paper. Online diaries were superior to SMS in completeness and participant preference, but SMS diaries were more likely to be submitted on time. This thesis has tested several novel options for researching and promoting health to young people. Through music festivals, SMS, and email, young people can be reached through settings and media they are familiar with. Use of these novel methods has increased understanding of risk behaviour among youth and been effective in sexual health promotion.

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Ehmer, Emily A. „An attitudinal study of music videos portraying violence, sex-role stereotypes, and objectification of women among young women“. Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390657.

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This study investigated the relationships between young women's attitudes and exposure to violence, objectification of women, and sex-role stereotypes. The research analyzed whether or not viewing sexual content or violence in music videos affected young women's current moods or changed attitudes about sexual beliefs. Music videos were selected from cable television networks and music Web sites. Sixty-six undergraduate women at a Midwest university were exposed to six music videos with violent, sexual, or neutral content. Pretests and post-tests were used to assess any change of mood or attitude after viewing music videos. Results showed no significant change in sexual beliefs for any of the three groups. The group viewing neutral videos demonstrated a significant change in mood prior to viewing the music videos between the groups. The data suggested the method of selection of participants, use of pretests and post-tests, effects of music, and desensitization to violence and sexual content may have played a role in the outcomes of the study.
Department of Journalism

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Johansson, Joel. „Säg Bob! : Sex sångare om nedsjungning“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3921.

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Detta är en kvalitativ studie med kvantitativa inslag med syftet att undersöka sångares upplevelser avnedsjungning efter högintensiv sång. Till en början har specifikt designade sångövningar förmedlats till sex medverkande sångare om fyra kvinnor och två män under individuella sånglektioner. Deltagarna har i en variant av crossover design skattat sin dagliga rösthälsa i EASE- självskattningsformulär för friska röster. Testperioden om tre veckor följdes sedan av kvalitativa intervjuer. Resultat visar att även om sångares vardag är komplex, i och med inre och yttre påverkande faktorer, har nedsjungning en upplevd effekt i avseendet förbättrad rösthälsa efter högintensiv sång. Detta gäller särskilt de kvinnliga sångarna som beskriver att nedsjungning bidragit till en mer samlad röst med minskad heshet och svullnad. Vidare rapporteras om större lätthet inför att sjunga i lägre delen av bröstregistret, en mer egaliserad röst och en förbättrad tal- och magstödsteknik tillsammans med större lätthet inför påföljande sångpass. Nedsjungning ses också ha skapat ett andrum i vardagen där minskad stress, prestationskrav och resultatinriktning omvänts till en samlad känsla av avslut. Likväl är begrepp som nedsjungning, att sjunga ned, kyla ned, eller att stretcha rösten nya begrepp som rekommenderas att vidare studeras och förmedlas till elever och studenter, framför allt då föreliggande studies resultat visar tydliga attitydskillnader avseende rösthälsa och röstvård emellan de olika könen.
This is a study regarding singers' experiences of a vocal-cool down routine preceded with a heavy vocal load. The study is mainly based on a qualitative approach with quantitative elements. At first individual singing lessons where held, whereas specifically designed vocal-cool down exercises were taught to six participating singers; four women and two men. With a modification of a crossover design the singers in this study have estimated their daily voice health in the Evaluation of the Ability to Sing Easily survey (EASE). After a three week period of tests the singers were interviewed. The result of this study shows that even if singers' everyday lives are complex due to internal and external factors, vocal- cool down where perceived as an improvement of voice health. It is mainly the female singers' that describes an increased vocal well-being, with less hoarseness and swollen vocal folds after a heavy vocal load, followed by a vocal -cool down routine. Furthermore a greater sense of ease was reported in terms of transitions between registers in the singing voice, where fatigue in the surrounding muscles also decreased alongside with a positive impact on the speaking voice, reaching lower notes in chest register and extended diaphragm breathing. The vocal cool-down routine itself also gave an unexpected finding in terms of being contemplative and relaxing for the singers; creating a breathing space in everyday life where stress, performance anxiety and other concerns where easier to let go of, with an overall feeling of closure. Vocal cool down, cooling down the voice, vocal stretch, or warming down your voice are all relatively new concepts that are recommended to be studied further, spread and taught to students and pupils, - especially as the result in this study indicates clear differences in attitudes regarding voice health in-between the male and female genders.

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Koster, Keith A. „Demonstrator gender and the woodwinds : investigating children's differential views of gender propriety /“. free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904854.

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Kroff, Savannah Leigh. „"Love on the Brain":? Exploring the Influence of Lyrics on Sexting and Risky Sexual Behavior“. BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7330.

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While some research has been done on the influence of music lyrics on sexual behaviors in general, none has explored the lyrical influence on sexting. The goal of the current study is to explore the longitudinal influence of sexual and sexually objectifying lyrics on adolescent sexting behaviors. Participants were 125 14-year-old adolescents who were recruited from high schools in Texas. Participants completed questionnaires on music preferences, sexual behaviors and impulsivity and were given BlackBerry devices through which frequency of sexual text message utterances was obtained. Music preferences were then quantitatively analyzed using the Linguistic Inquiry Word Count (LIWC) software. Logistic regression analyses were conducted to explore the influence of both sexual and sexually objectifying lyrics on sexting behavior. Additionally, biological sex and impulsivity were explored as moderators. Analyses revealed that 40.65% of adolescents participated in some form of sexting at Time 3 (42.81% at Time 1) but that music lyrics had little direct influence on sexting. However, biological sex appeared to moderate the relationship between sexual lyrics and sexting such that males were much more likely to participate in sexting when exposed to sexual lyrics where females were not. These and other results are discussed as well as implications for parents and the need for further research on sexting and the behavioral influence of musical lyrics.

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Evans, Keith McKay. „“One More Drinkin’ Song”: A Longitudinal Content Analysis of Country Music Lyrics Between the Years 1994 and 2013“. BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/5318.

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The lyrical content of pop music has rarely been studied, particularly for country music. The lyrics of the top 50 country songs for each year between 1994 and 2013 were coded for violent, sexual and substance use-related content. Violence had increased, as had sexual references, substance use, and substance use associated with sexual activity. Of particular note is the frequency of references to alcohol; 21% of the 1,000-song sampling frame contained alcoholic references, and the average for the final five-year period (2009-2013) was 1.01 references per song. This research should serve as a springboard into further studies about the lyrical content of pop songs as well as longitudinal changes.

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Seger, Olivia. „Varför väljer elever tvärflöjt? : En kvantitativ studie i barn- och ungdomars syn på musikundervisning i tvärflöjt i musik- och kulturskolor“. Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-70167.

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Föreliggande studies syfte är att få insikt i vad som påverkar elevers val av tvärflöjt och fortsatta spelande i musik- och kulturskolan.I bakgrundskapitlet presenteras forskning om musik- och kulturskolor samt tidigare forskning kring barn- och ungdomars instrumentval. Som teoretisk utgångspunkt användspositivism. Sammanlagt 97 respondenter i åldrarna 7–22 år genomförde en tvärsnittsdesignad webbenkät. Resultatet har analyserats med en univariat analys där en variabel studerats i taget. I resultatet framkommer det att de största påverkansfaktorerna till att elever valt att spela tvärflöjt är instrumentprovdagar och att känna någon som spelar tvärflöjt. Vidare visar resultatet att det eleverna önskar ha mer av i musik- och kulturskolan är att få möjlighet att spela med andra i band eller orkester. I diskussionen lyfts fem teman upp: genus och instrumentvalet, betydelse av sociala sammanhang, instrumentets egenskaper, förebilders påverkan och lärarens betydelse.
The purpose of the present study is to gain insight into what influencesstudents´ choice of flute and continued participation in Swedish community music schools. Research on community music schools as well as the factors influencinginstrument choice among children and youths are presented in the background section. Positivism was applied as a theoretical lens for the present study. A total of 97 participants ranging from 7 to 22 years of age, filled out a cross sectional websurvey. The result has been analyzed with a univariate analysis where one variable is studied at a time.The results revealed that instrument trial days and knowing someone who plays flute were the most important factors determining the student´ perference for flute playing. Furthermore, the results revealed that students requested more frequent oportunities to play with others in bands or orchestras. In the discussion, five themes are raised: gender and instrument selection, importance of social contexts, the characteristics of the instrument, the impact of role models and the importance of the teacher.

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Feasel, Brandon L. „The relationship between attitudes towards women and violence and music preference“. Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293372.

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This study examines attitudes regarding general violence, violence against women, gender roles, and rape myth and how they relate to music preference. Surveys were completed by 321 students from two large introductory sociology classes at a midsize Midwestern university. Data were analyzed using Ordinary Least Squares (OLS) regression. The results indicate that those who listen to predominantly rap and r&b music are more accepting of general violence and violence against women. Also, findings support the idea that amount of music videos viewed affects views on gender roles. Results show no support for a relationship between attitudes about rape myth and listening to rap and r&b music.
Department of Sociology

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Pruitt, Cenate. „Stand By Your Man, Redneck Woman: Towards a Historical View of Country Music Gender Roles“. unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-11142006-165343/.

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Thesis (M.A.)--Georgia State University, 2006.
Title from title screen. Wendy Simonds, committee chair; Romney Norwood, Charlie Jaret, committee members. Electronic text (80 p.) : digital, PDF file. Description based on contents viewed June 26, 2007. Includes bibliographical references (p. 74-76).

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Bazzy, Zadda M. „Upper Elementary Boys’ Participation During Group Singing Activities in Single-sex and Coeducational Classes“. Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1572.

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As boys in the upper elementary grades become increasingly influenced by peer pressure, many are less likely to participate in singing activities because singing is considered a "feminine" activity. The purpose of this research was to explore if there was an effect on upper elementary boys' level of participation during group singing activities when they attended music classes in a single-sex setting. This study employed a true experimental design and a mixed method. Boys (N = 186) were videotaped during their regular coeducational music classes on two occasions to establish baseline data. Then the students were randomly assigned to attend music classes in either a single-sex or coeducational group. Boys were videotaped again after seven music classes (approximately 9 weeks later). The videos were scored using the author-designed Singing Participation Measure, and the scores (N = 123) were analyzed using an analysis of variance (ANOVA). In addition, qualitative data were collected in the form of music teacher interviews and journal entries. The ANOVA showed no statistically significant differences between groups (single-sex or coeducational) or within groups (baseline scores versus post-treatment scores). In contrast, the qualitative data showed substantial differences in most of the boys' participation in single-sex classes. The teachers reported a sudden increase in the boys' singing participation and described numerous advantages of single-sex music education. Further research is needed. Implications for music educators suggest teachers could create single-sex singing opportunities, choose repertoire mindfully, and establish a "singing culture" at the school to increase boys' participation during singing activities. In addition, music educators are encouraged to know their students' strengths, weaknesses, interests, and needs, and to remember that "one size" does not "fit all" when it comes to what is best for developing young musicians.

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Neplokh, Vassili. „Sexscener med filmmusik av kvinnliga kompositörer : En undersökning av filmmusik i sexscener i fyra moderna västerländska filmer, där USA är ett av produktionsländerna“. Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-21013.

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I detta arbete analyseras filmmusiken, skriven av kvinnliga kompositörer, som spelas i sexscener i fyra moderna spelfilmer där USA är ett av produktionsländerna. Vassili Neplokhs analysmetod består av fem musikaliska parametrar. Författaren sammanställer även forskning som berör ämnet inom bland annat musikpsykologi och utökar en redan fungerande metod med fler parametrar som grundar sig i musikpsykologi. Avslutningsvis jämförs studiens resultat med resultat av en tidigare utförd undersökning av manliga kompositörers filmmusik i sexscener.

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Lindh, Maria. „Konstruktionen av kön i djursånger för barn i förskolans kontext : Kritisk diskursanalys av sångtexter i förskolan ur ett genusvetenskapligt perspektiv“. Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-56652.

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I detta arbete har syftet varit att ta reda på hur förståelsen av kön konstrueras i förskolans kontext genom sångtexter. Jag gjorde valet att endast undersöka sånger som handlar om djur för att se vilka osynliga strukturer gällande kön som kan ligga bakom sångerna. Jag har använt mig av ett genusperspektiv för att synliggöra de normer som speglas genom sångerna. Genusperspektivet har även hjälpt mig som ett verktyg för att konkretisera hur dessa strukturer kan påverka oss människor. Detta är således en kvalitativ undersökning och bygger på en kritisk diskursanalys av ca 30 djursånger. I resultatet framkom det att flera av sångerna jag analyserat påverkas av olika stereotypa föreställningar av människor. Bland annat tittade jag på den rådande genusordningen och heteronormativiteten där jag även kunde finna empiriskt material som speglar queerperspektivet. De normativa strukturer som präglar vårt samhälle och i de sångtexter som jag analyserade kan ha en påverkan på den syn vi får av oss själva och andra människor i vår omgivning. Detta kan således påverka barns identitetsutveckling och barnets förståelse av sig själv gentemot sin omvärld utifrån barnets kön.
The purpose of this essay has been to examine how the understanding of gender is constructed in the pre-school context through song lyrics. I choose only to study song texts about animals to see what undetected structures regarding gender that may lay behind the lyrics. I used the gender perspective to highlight the norms reflected by the texts. The gender perspective has helped me as a tool to clarify how these structures can affect us. This is a qualitative survey and is based on a critical discourse analysis of about 30 songs texts about animals. The results that emerged showed that several of the songs I analyzed could be influenced by different stereotypes. Among the subject that I looked at was the current gender order and the heteronormativity as well as empirical material that reflects the queer perspective. The normative structures that shape our society and in the song texts that I analyzed could affect us on how we perceive ourselves and others in our surroundings. This could thus affect children's development of self-identity and the child's understanding of oneself towards their surrounding regarding their gender.

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Watson, Anna Elizabeth. „Music lessons and the construction of womanhood in English fiction, 1870-1914“. Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5479.

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This thesis explores the gendered symbolism of women's music lessons in English fiction, 1870-1914. I consider canonical and non-canonical fiction in the context of a wider discourse about music, gender and society. Traditionally, women's music lessons were a marker of upper- and middle-class respectability. Musical ‘accomplishment' was a means to differentiate women in the ‘marriage market', and the music lesson itself was seen to encode a dynamic of obedient submission to male authority as a ‘rehearsal' for married life. However, as the market for musical goods and services burgeoned, musical training also offered women the potential of an independent career. Close reading George Eliot's Daniel Deronda (1876) and Jessie Fothergill's The First Violin (1877), I discuss four young women who negotiate their marital and vocational choices through their interactions with powerful music teachers. Through the lens of the music lessons in Emma Marshall's Alma (1888) and Israel Zangwill's Merely Mary Ann (1893), I consider the issues of class, respectability and social emulation, paying particular attention to the relationship between aesthetic taste and moral values. I continue by considering George Du Maurier's Trilby (1894) alongside Elizabeth Godfrey's Cornish Diamonds (1895), texts in which female pupils exhibit genuine power, eventually eclipsing both their music teachers and the artist-suitors for whom they once modelled. My final chapter discusses three texts which problematize the power of women's musical performance through depicting female music pupils as ‘New Women' in conflict with the people around them: Sarah Grand's The Beth Book (1895), D. H. Lawrence's The Trespasser (1912) and Compton Mackenzie's Sinister Street (1913). I conclude by looking forward to representations of women's music lessons in the modernist period and beyond, with a reading of Katherine Mansfield's ‘The Wind Blows' (1920) as well as Rebecca West's The Fountain Overflows (1956).

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Nycz, Tracey J. „A Description of a Gender Separate Middle School Choral Program“. Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1213897793.

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Bengtzon, Cathina. „Musikämnet som en hälsofrämjande arena i skolan : En kritisk diskursanalys av utrymmet för främjande socio-emotionella egenskaper inom ramen för den kommande kursplanen“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-107382.

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This thesis is based on a curiosity and interest in how music can affect our mental health. Through a critical discourse analytical perspective, it is investigated how music education (based on the syllabus that will come into force in 2022) can contribute to promoting mental health in young people. The study is based on SEC and how it, in relation to music, can have significance and function for people's personal development. Such as which of the activities that can be conducted in music education can develop SEC and thus promote health. The study was conducted through qualitative text analysis of the material. The results show that the future curricula have good conditions for processing the characteristics of SEC and thus have good opportunities to be a contributing factor in promoting young people's mental health. However, the results also show that these possibilities are not an axiom, as the discursive practice is crucial for the outcome of the social practice where the education and the students are involved.

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Nyström, Joe. „Jämställdhet? Hjärna det! : En studie om neurologiska och biologiska könsskillnader och dess inverkan på musikämnet och den svenska skolan“. Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-160096.

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This thesis examines in Swedish teacher education often neglected areas to increase the understanding for the essential differences between the two sexes and furthermore: how these differences affect us from an evolutionary and biological perspective. The study investigates previous research within the area - particularly evolution, neurology, hormones and genetics that affects our behavior. It also scrutinizes theories of social construction which primarily lodged the foundation for learning within the last century and served as explanation model for how human beings turn out in life. Research is analyzed regarding how music may be perceived differently and how they may affect stereotypical choices regarding instrument and other preferences. Also, the study evaluates research regarding how the Swedish school is designed to uphold gender equality in their goals and in their national curriculum. Finally, conclusions whether the Swedish school is providing enforcement regarding scientific regulations, which the law demands from it – in this case biological factors – are being looked at. The results show that biological differences between males and females may influence human behavior to a greater degree than earlier predictions, and that the Swedish school is mostly founded on a social constructionist point of view. These results indirectly question the Swedish National Agency for Education’s definition of equality, which paradoxical may lead to equity. Or, equality by outcome. Which do not take biological sex differences, or even individual differences into account.

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Harrison, Scott D., und n/a. „Musical Participation By Boys: The Role of Gender in the Choice of Musical Activities By Males in Australian Schools“. Griffith University. Queensland Conservatorium, 2004. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040528.142148.

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This thesis seeks to examine the relationship between gender and musical participation by boys. The problem of males' non-participation in certain musical activities has been the subject of research for many years. This thesis considers some of the issues in relation to this phenomenon. The notion of gender is discussed. Historical and contemporary perspectives in stereotyping are investigated to determine the extent of the problem, with a view to enhancing the experience of boys in musical endeavours. There are no studies of this nature in existence in Australia and the existing research from other western cultures, while providing some basis, cannot be directly applied to this setting. Furthermore, existing studies have not brought about significant change in the gender order in music education. This project seeks to address these shortcomings. Masculinity in Australia is examined, with particular emphasis on the effects of hegemonic masculinity on those who do not fit this stereotype. Issues of bullying, depression and suicide are addressed. Empirical and sociological studies are re-examined in the light of more recent thought on the subject, particularly with regard to the possible causes of non-participation in singing and playing of certain instruments. The extent to which stereotyping of musical activities exists in Australian schools is reviewed through a series of studies of participation and literature. A number of subjects are interviewed to discover some of the reasons behind the choice of particular instruments. The thesis concludes with some perspectives arising from recent case studies of schools that have, to some extent, overcome some of the gender issues raised in earlier discussion. Constructs of masculinity and femininity effect musical participation in Australian schools and the extent of this effect is examined in this thesis.

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Benezra, Samuel Kelly. „White Man (In Hammersmith Palais): Punk, Immigration, and the Politics of Race in 1970s England“. Ohio University Honors Tutorial College / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1525455170795717.

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Harrison, Scott D. „Musical Participation By Boys: The Role of Gender in the Choice of Musical Activities By Males in Australian Schools“. Thesis, Griffith University, 2004. http://hdl.handle.net/10072/367542.

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This thesis seeks to examine the relationship between gender and musical participation by boys. The problem of males' non-participation in certain musical activities has been the subject of research for many years. This thesis considers some of the issues in relation to this phenomenon. The notion of gender is discussed. Historical and contemporary perspectives in stereotyping are investigated to determine the extent of the problem, with a view to enhancing the experience of boys in musical endeavours. There are no studies of this nature in existence in Australia and the existing research from other western cultures, while providing some basis, cannot be directly applied to this setting. Furthermore, existing studies have not brought about significant change in the gender order in music education. This project seeks to address these shortcomings. Masculinity in Australia is examined, with particular emphasis on the effects of hegemonic masculinity on those who do not fit this stereotype. Issues of bullying, depression and suicide are addressed. Empirical and sociological studies are re-examined in the light of more recent thought on the subject, particularly with regard to the possible causes of non-participation in singing and playing of certain instruments. The extent to which stereotyping of musical activities exists in Australian schools is reviewed through a series of studies of participation and literature. A number of subjects are interviewed to discover some of the reasons behind the choice of particular instruments. The thesis concludes with some perspectives arising from recent case studies of schools that have, to some extent, overcome some of the gender issues raised in earlier discussion. Constructs of masculinity and femininity effect musical participation in Australian schools and the extent of this effect is examined in this thesis.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
Full Text

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Lindell, Sebastian. „Undervisning om undervisning : En studie om hur en lärare på musikhögskolan ser på undervisning i ämnet musikdidaktik“. Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-73436.

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Syftet med föreliggande studie är att beskriva hur en lärare i ämnet Allmän musikdidaktik på en musikhögskolaser på sitt ämne. Studiens vetenskapsteoretiska ansats är kvalitativ och den teoretiska ramen bygger på ett hermeneutiskt perspektiv. Datamaterialet har insamlats genom ostrukturerade och semistrukturerade intervjuer med en lärare i ämnet Allmän musikdidaktik på en musikhögskola. Intervjuerna har transkriberats och bearbetats med hjälp av ett narrativt analyssätt. I resultatet presenteras teman som kretsar kring vägen fram till didaktiklärartjänsten, synen på ämnet allmän musikdidaktik och en föränderlig undervisningsmodell. Resultatet visar på hur ett flertal engagerade personer påverkade de val läraren gjorde som ledde fram till didaktiklärartjänsten. Vidare presenterar resultatet en syn på ämnet som en bro mellan praktiska, metodiska kurser och övergripande pedagogiska kurser och vikten av professionell reflektion. Därefter redovisas lärarens sätt att utveckla ämnet Allmän musikdidaktik genom erfarenhet, litteratur samt utbyte med kollegor och studenter. I diskussionen lyfts tre sammanfattande teman fram vilka är synen på och undervisning i ämnet, ett praktiknära förhållningssätt samt att göra intryck på studenter.
The purpose of this study is to describe how a teacher in the subject of Music Didactics at a music college views his own subject. The scientific theory of the study is qualitative and the theoretical framework is based on a hermeneutic perspective. The data has been generated through unstructured and semistructured interviews with a teacher in the subject of Music Didactics at a music college. The interviews have been transcribed and processed using a narrative analysis method. The results present themes that tells about the road that lead to becoming a teacher in the subject, the view on the subject of general music didactics and the evolving of his teaching model. The results show how a number of committed individuals influenced the choices made by the teacher leading to the didactics teacher position. Furthermore, the result presents a view on the subject as a bridge between the practical, methodological courses and the theoretic, pedagogical courses. Lastly, the teacher's way of developing the subject of Music Didactics is presented through experience, literature and exchanges with colleagues and students. In the discussion, three summary themes are highlighted, which are the views on teaching the subject, a practical approach and the impression on students.

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Ohki, Hitomi. „American Poet Emily Dickinson Set to Music by 20th Century Composers“. Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3869.

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When singers perform art songs, how many of them, especially students, learn about the poem and poet behind the lyrics? It might be that a number of singers focus on composers, however not poets. Even in concert programs, it is common to only write the composer’s name. I am one of the singers that has learned lyrics in the last minute before a concert or an examination. I will experiment with changing my learning process and see if that makes any difference when performing the art song. The purpose of this study is also to focus on the poet Emily Dickinson. Furthermore, to find out about the music of composers from the 20th century onwards using Dickinson’s poems. I choose Aaron Copland’s song cycle “Twelve Poems of Emily Dickinson”. Finally, I will perform the work and demonstrate if there is a difference in the singing interpretation by studying not only the music but also the poems behind the lyrics. “Who is Emily Dickinson?” The study explores this question first. After researching 100 songs using her poems, I chose three composers, Aaron Copland, Libby Larsen and Niccolò Castiglioni. Thereafter, “Bind me - I can still sing” of Larsen and “Dickinson-Lieder” of Castiglioni is mentioned. Furthermore, the song cycle “Twelve Poems of Emily Dickinson” by Copland is analyzed deeply to find out more about the piece and why the composer was inspired by Dickinson. It was discovered that one is able to understand the piece deeply, knowing not only about the life of the composer, but also the poet leads to a better understanding of the work. From the singer’s point of view, the level of expression and singing performance has improved after researching the poet Emily Dickinson. The study concludes knowing deeply about the poet that there is no doubt how important the poem is when understanding and interpreting art song.

Soprano: Hitomi Ohki

Piano: Anders Kilström

Aaron Copland (1900-1990)

Twelve Poems of Emily Dickonson

1, Nature, the gentlest mother

2, There came a wind like a bugle

3, Why do they shut me out of Heaven?

4, The world feels dusty

5, Heart, we will forget him!

6, Dear March, come in!

7, Sleep is supposed to be

8, When they come back

9, I felt a funeral in my brain

10, I've heard an organ talk sometimes

11, Going to Heaven!

12, The Chariot

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Taylor, Jodie. „Playing It Queer: Understanding Queer Gender, Sexual and Musical Praxis in a 'New' Musicological Context“. Thesis, Griffith University, 2009. http://hdl.handle.net/10072/366992.

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Across ages and cultures, music has been associated with sexual allure, gender inversion and suspect sexuality. Music has been theorised as both a putative agent of moral corruption and an expressive mechanism of gender and sexual signification, capable of arousing and channelling sexual urges and desires. This research examines musically facilitated expressions of queerness and queer identity, asking how and why music is used by queer musicians and musical performers to express non-normative gender and sexual identities. A queer theoretical approach to gender and sexuality, coupled with interdisciplinary theories concerning music as an identificatory practice, provides the theoretical landscape for this study. An investigation into queer musical episodes such as this necessitates an exploration of the broader cultural milieu in which queer musical work occurs. It also raises questions surrounding the corpus of queer musical practice—that is, do these practices constitute the creation of a new musical genre or a collection of genres that can be understood as queer music? The preceding questions inform an account of the histories, styles, sensibilities, and gender and sexual politics of camp, drag and genderfuck, queer punk and queercore, as well as queer feminist cultures, positioning these within musical praxis. Queer theory, music and identity theories as well as contemporary discussions relating to queer cultural histories are then applied to case studies of queer-identified music performers from Brisbane, Australia. A grounded theoretical analysis of the data gathered in these case studies provides the necessary material to argue that musical performance provides a creative context for the expression of queer identities and the empowerment of queer agency, as well as oppositional responses to and criticism of heterosexual hegemony, and the homogenisation and assimilation of mainstream gay culture. Resulting from this exploration of queer musical cultures, localised data gathering and analysis, this research also supposes a set of ideologies and sensibilities that can be considered indicative and potentially determinant of queer musical practice generally. Recognising that queer theory offers a useful theoretical discourse for understanding the complexities and flexibility of gender and sexual identities—particularly those that resist the binary logics of heteronormativity—this project foregrounds a question that is relatively unanswered in musicological work. It asks: how can musicology make use of queer theory in order to produce queer readings and new, anti-oppressive knowledge regarding musical performance, composition and participation? To answer this, it investigates the history of resistance towards embodied studies of music; the disjuncture between competing discourses of traditional and ‘new’ musicology; and recent developments in the pursuit of queer visibility within music studies. Building upon these recent developments, this work concludes that the integration of queer theoretical perspectives and queer aesthetic sensibilities within musicological discourse allows for a serious reconsideration of musical meaning and signification. In the development of a queer musicology, a committed awareness of queer theory, histories, styles and sensibilities, together with an embodied scholarly approach to music, is paramount. It is through this discursive nexus that musicology will be able to engage more fully with the troubling, performative and contingent qualities of gender, sexuality and desire.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Queensland Conservatorium of Music
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Shortway, Christopher Greg. „Set in motion“. Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/1078.

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Set in Motion is a composition in two movements for an ensemble of 10 instruments that interacts with a computer in real-time performance using Max/MSP software. The instrumental writing in the piece focuses on incorporating electronic composition techniques into acoustic composition. Techniques such as constructing envelopes, shading, and sound masses, which are common in electronic works are applied to the ensemble. Also, the intervals of a major and minor second are important in the instrumental writing. These intervals provided the basis for the material, which was then transformed algorithmically, both in individual lines and whole sections of music. In terms of the electronics, the first movement takes advantage of the interactive possibilities of the software. The electronic part is created through the computer extending, processing, and responding to the instruments. The techniques include extracting small grains of sound from the live instruments and repeating them, analyzing the pitch of the signal and amplifying overtones, and rearranging fragments in blocks of recorded sound. The second movement changes the focus of the electronic sound. The electronics are made of precomposed gestures that compliment the live instruments. These gestures are categorized and selected randomly according to specific characteristics. Filtering and other effects applied to the sounds are chosen randomly as well.

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Knapp, Christian. „Creating Music Visualizations in a Mandelbrot Set Explorer“. Thesis, Linnéuniversitetet, Institutionen för datavetenskap, fysik och matematik, DFM, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-21135.

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The aim of this thesis is to implement a Mandelbrot Set Explorer that includes the functionality to create music visualizations. The Mandelbrot set is an important mathematical object, and the arguably most famous so called fractal. One of its outstanding attributes is its beauty, and therefore there are several implementations that visualize the set and allow it to navigate around it. In this thesis methods are discussed to visualize the set and create music visualizations consisting of zooms into the Mandelbrot set. For that purpose methods for analysing music are implemented, so user created zooms can react to the music that is played. Mainly the thesis deals with problems that occur during the process of developing this application to create music visualizations. Especially problems concerning performance and usability are focused. The thesis will reveal that it is in fact possible to create very aesthetically pleasing music visualizations by using zooms into the Mandelbrot set. The biggest drawback is the lack in performance, because of the high computation effort, and therefore the difficulties in rendering the visualization in real-time.

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Jägerman, Daniel, und Per Östberg. „Musik i skolan - Mål eller medel? En studie av sex pedagogers funderingar kring musik och lärande“. Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-30879.

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Studiens syfte är att i två skolor undersöka hur sex pedagoger använder musik och funderar kring musikens roll i skolan och huvudfrågeställningen är: hur kan musik användas pedagogiskt för att stimulera estetiska såväl som utomestetiska lärandeprocesser?Mycket av litteraturen och forskningen pekar på tydliga samband mellan musik och inlärning där musiken både direkt och indirekt förstärker förmågor hos eleverna. I litteraturen pågår en debatt kring huruvida vi ska motivera musiken i skolan med dess förmåga att förstärka utomestetiska läroprocesser, eller dess rent estetiska kvalitéer. Undersökningen består av kvalitativa intervjuer med en viss grad av standardisering och ostrukturerade öppna frågor. Pedagogerna anser att musik kan vara en del i ett lustfyllt lärande eftersom olika läroprocesser blir informella. Musik och sångtexter förankras hos elever i stor utsträckning och är därför ett bra medel för såväl estetisk som utomestetisk inlärning, t.ex. språk- och matematikundervisning. Pedagogerna menar att musikutövandet och användandet av musik i skolan kan utveckla elevernas sociala förmågor genom samarbete och interaktion. De två pedagogerna med högskolepoäng i musik menar att huvudsyftet och målet med musikundervisningen är att utveckla musikaliska förmågor som röstvård, melodi- ackordspel och rytmik, medan övriga pedagoger poängterar att eleverna ska ha kul och känna en sångglädje och gemenskap.

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Göransson, Daniel. „”Jag tycker det är värdelöst” : en diskursanalytisk studie om hur musikgymnasiets slagverkslärare ser på betygsättning“. Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2609.

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Syftet med denna studie är att undersöka vilka diskurser som ligger till grund för betygssättning i trumset i musikgymnasiet. Forskningsfrågor var om lärarna bedömer olika, hur de motiverar sina bedömningar och hur de samtalar om bedömning. Två elever filmades och videoklippen skickades till trumlärare som arbetar på musikgymnasium. De fick dels ange bokstavsbetyg A, C eller E, dels motivera sin bedömning i frisvar. Efter detta samlades tre lärare i en fokusgrupp där de fick diskutera bedömning. Ett diskursanalytiskt perspektiv användes vid behandlingen av datan. Resultatet pekar på att lärarna bedömer dessa klipp olika. Det ena klippet gav en jämn spridning av betygen A, C och E och det andra C och E. De diskurser som hittades i frisvaren på mailenkäten var en diskurs kring ”rätt och fel”-spelande, en diskurs om musikaliskt uttryck, en processinriktad diskurs och en diskurs som betonar helhetsbild. Dessa diskurser återkommer även i fokusgruppen, där det även framkommer att lärarna tycker att det är svårt att sätta rättvisa betyg. Det fanns inte något samband mellan vilka betyg lärarna satte på videoklippen och de diskurser de verkade inom när de motiverade sina betyg, däremot verkade de lärare som satt de högsta betygen arbeta på de skolor som är svårast att komma in på.

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DeLuca, Erik Ian. „The Deep Seascape: The Sonic Sea“. FIU Digital Commons, 2009. http://digitalcommons.fiu.edu/etd/2768.

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The Deep Seascape set out to explore the unusual, indeterminate sonic capabilities of the sea and the creatures inhabiting it, fulfilling a curiosity to listen to the often-inaudible aspects of this unique sonic world. The project culminates in a two-part installation/performance presenting the captured material as a soundscape and performing compositions influenced by the research, bridging the two using acousmatic techniques focusing on speaker spatialization and technology. In order to explore this sonic world extensive research in the field of acoustic oceanography was conducted including research in underwater recording technology, animal vocalization, and underwater sound propagation characteristics. A discussion of the theory and philosophy behind soundscapes is provided with particular focus on the work of R. Murray Schafer and David Dunn. Issues related to sound pollution and its impact on creating and documenting soundscapes are also critically examined.

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Lundberg, Lisa. „"Det som man oftast ser" : En studie om elevers könskodning av musikinstrument på gymnasiet“. Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69734.

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The focus of this study lies within gender coded musical instruments. This concept concerns the unconscious thought of musical instruments as either feminine or masculine. The aim of this study is to acknowledge the existence of this concept amongst pupils in Swedish upper secondary schools, and to demonstrate how it can affect pupils’ choice of main instrument. The study presents earlier studies that show signs of the existence of gender coded instruments. It also explores the concept of sex and gender in different situations. These include the use of gender in the Swedish language, in music, and in an ensemble situation. Fifteen pupils from two different schools were interviewed, and the conclusion is that the gender coding exists. When the pupils were asked to categorise different instruments as feminine or masculine, the results revealed that singing and piano were considered feminine. Some of the masculine instruments were electric guitar, electric bass, and drums. According to the pupils, the reasons behind their main choice of musical instrument can be put into five different categories. These are; Role models, Parents’ influense, the accessibility of musical instruments, Norms and Biological stereotypes. Three of these categories; Role models, Norms and Biological stereotypes are also what they believe are reasons behind gender coded musical instruments. The aim of this study is to raise awareness of this situation as the Swedish school values show that schools and their teachers are supposed to work towards equality between the genders, a task which cannot be done if this continues.

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