Dissertations / Theses on the topic 'Conservatories of music'
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Chen, Tsun-kit Andrew James. "School of music at Mui Wo." Click to view the E-thesis via HKUTO, 2001. http://sunzi.lib.hku.hk/hkuto/record/B31985671.
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Thesis (M.Arch.)--University of Hong Kong, 2001.Includes special report study entitled : Acoustics and its relation with architecture. Includes bibliographical references. Also available in print.
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Lauer, Helena Raymond. "The role of the first five Elder professors in the development of music in the Elder Conservatorium, 1885-1985 /." Title page, table of contents and abstract only, 1998. http://web4.library.adelaide.edu.au/theses/09ARM/09arml372.pdf.
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Chen, Tsun-kit Andrew James, and 陳俊傑. "School of music at Mui Wo." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31985671.
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Spicer, Junghee Kim. "A study of keyboard proficiency requirements for non-keyboard music majors in universities and conservatories /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11341.
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Babin, Ann. "Music conservatories in Canada and the piano examination system for the preparatory student: A historical survey and comparative analysis." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/26845.
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For many 21st century Canadian music educators, students, and parents, the words conservatory and examination are inextricably linked. Generations of music students have participated in this examination process, the methods and results of which prompt ongoing debate. The lack of a comprehensive, comparative study of Canadian piano examination curriculum requirements is the problem this thesis undertakes to address. This is accomplished, first, by discussing the historical development of conservatories and their examination systems in Canada generally, and second, by analyzing nine different piano examination boards currently operating in various regions of the country. Syllabi, an important but often overlooked resource, have served as primary sources for details of past and present examination standards and practices. Details presented on charts and tables provide the basis for commentary on topics such as distribution of marks, repertoire, memory, ear, and sight-reading requirements, with emphasis on technique, a significant variable noted in each system.
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Choate, E. Terry. "Order through analogy: a music school." Thesis, Virginia Polytechnic Institute and State University, 1987. http://hdl.handle.net/10919/53119.
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This project represents a continuous search for an understanding of order and totality in architecture. Through consideration of the ideas inherent in music and in mathematics, I realized order in architecture is not only enriching to the project but critically necessary. The task then became to translate these ideas from the realms of music and mathematics to the realm of architecture. The design of this music school is a manifestation of these ideas and has been a generator for further study.Master of Architecture
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Perkins, Rosie Louise. "The construction of 'learning cultures' : an ethnographically-informed case study of a UK conservatoire." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/265535.
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This study investigates the 'learning cultures' of a UK conservatoire of music. As educational institutions; conservatoires remain largely unresearched and, crucially, relatively unchallenged. In particular, existing research has paid little attention to indepth studies of culture, so that not enough is known of the cultural practices that characterise and shape a conservatoire education. To address this gap, the study adopts the conceptual lens of 'learning cultures'. Acknowledging recent research in further education, 'learning cultures' are conceptualised not as the contexts in which people learn, but as the practices through which people learn. As such, the study aims to understand the characteristic practices of the conservatoire and its members, the ways that learners participate in, construct and learn from such practices and, thus, the constructed nature of the conservatoire's learning cultures. Methodologically, the study is grounded in constructionism and draws on the thinking of Pierre Bourdieu. In particular, Bourdieu's notions of habitus, capital and field are used as 'thinking tools' through which to access and understand 'learning cultures'. The research comprised an ethnographically-informed qualitative case study of one UK conservatoire. In the quest for in-depth understandings, a family of four methods was employed: semistructured interviews, participant observation, document analysis and participant selfdocumentation. Data were analysed using a framework that moved between inductive data-driven thematic analysis and Bourdieu-informed interpretation, with emphasis given to the socially constructed nature of 'learning cultures'. The key findings of the study are divided into three interrelated parts: the organisational, curricula and spatial practices of the conservatoire, the practices of the conservatoire's students, teachers and staff and the ways in which different learners participate in, construct and learn from these practices. Drawing these parts together, the study concludes that (1) the nature of the conservatoire's learning cultures is manifested across four intertwined features: cultures privileging the development of specialised performers, cultures of social networking, cultures of musical hierarchies and cultures of vocational position taking and (2) the conservatoire's learning cultures are constructed in different ways for differently positioned learners, appearing to privilege those 'superstar' students who visibly demonstrate high levels of symbolic cultural and social capital. In a climate where the call to 'change the cultures' of conservatoires is oft heard, the learning cultures of this particular conservatoire reveal practices that do not always appear to reflect a rapidly changing musical field. Implications of the study are discussed, and recommendations made for the introduction of creative, reflective and leadership spaces for learning in the conservatoires of the future.
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Zhukov, Katie School of Music & Music Education UNSW. "Teaching styles and student behaviour in instrumental music lessons in Australian conservatoriums." Awarded by:University of New South Wales. School of Music and Music Education, 2004. http://handle.unsw.edu.au/1959.4/20698.
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This investigation into instrumental music teaching at the tertiary (conservatorium) level sought to observe and describe typical teacher and student behaviour in this under-researched educational setting. The aim of the study was to examine a wide range of areas associated with instrumental music teaching in order to identify patterns of behaviour exhibited by teachers and students and to define teaching and learning styles present in advanced applied music teaching. After a review of literature on teaching in general and on music teaching in particular, an observational instrument for individual instrumental music lessons was developed and refined in pilot studies. 12 prominent Australian teachers were videotaped teaching 24 students, with the sample being balanced geographically, institutionally, by instrument (three mainstream groups: piano, strings and winds) and by gender (equal numbers of male and female teachers and students). Steps were taken to observe realistic teaching of typical students and to minimise the observer???s intrusion into the lesson dynamics. The videotaped lessons were analysed using an observational instrument and the data was subjected to various statistical analyses. Results are reported according to five main areas (lesson structure, lesson content, teaching methodology, teacher/ student relationship, and teaching and learning styles) and discussed with reference to existing literature. The conclusions of this study enhance current understanding of studio music teaching, by supporting many of the findings of previous research and substantiating their application to advanced instrumental music teaching. This study provides new insights into the underlying structure of instrumental music lessons, the primacy of technique in terms of lesson content, the use of teaching strategies such as demonstration, evaluation and questioning, gender differences between teachers and between students, and the types of teaching and learning styles that are prevalent in conservatorium settings. Findings contribute to and extend existing research into applied music teaching.
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Malitowski, Cynthia Marie, and University of Lethbridge Faculty of Education. "The journey from instrumentalist to musician : reflections on the implementation of the conservatory method in musical performance." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Education, 2001, 2001. http://hdl.handle.net/10133/134.
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The Journey From Instrumentalist to Musician is a reflective study that addresses the effect of the Conservatory method in musical performance. The discussion begins with the author's early experiences as a young piano student who wanted to please her teacher and after many hours of practice soon became a performance specialist - a performance specialist who excelled as a pianist. The instrument that she studied, instead of the discipline of music itself, it what defined her a pianist. Throughout her early music career, she learned that exact replication of the score was more important than the process of creativity and individuality. The Conservatory method often emphasizes the importance of teaching specific instrumental skills rather than simply teaching music. This prompted the author to explore philosophies of music educators who were not considered educators of the traditional conservatory method. After discussing the methodologies of Suzuki, Kodaly, Dalcroze, and Orff, the author then reflects on her own educational methodology. In evaluating the methodolgies, the author identified four common themes for comparison: rhythm, pitch, recognition, patterning of sounds, and literacy. Through the discourse the author bridges the gap between the instrumentalist and the musician by comparing the methodology of these music educators and that of the conservatory through her own experiences.viii, 108 leaves ; 28 cm.
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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.
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Thomas, Janna. "Critical Factors influencing the Sustainability of Community Music Schools in the Greater Cape Town area: Two Case Studies." Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97128.
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Thesis (MMus)--Stellenbosch University, 2015.ENGLISH ABSTRACT: Community Music is a vibrant and growing field within the South African context and exists across various practices and settings. Community Music Programs in the Western Cape and more specifically the greater Cape Town area, are on the rise and often serve as outreach and educational initiatives to uplift participants from previously and currently disadvantaged communities by engaging in various musical activities. Though many Community Music Programs start successfully they fail to be sustainable due to various factors which are often never documented. Programs which include more formal aspects of music education such as those that function as Community Music Schools, experience unique successes and challenges that serve as factors which contribute towards their sustainability. Two Community Music Programs whose roots were established in outreach and whose goals also include that of providing quality music education are the Athlone Academy of Music and the Western Cape Music Education Project, which serve as case studies for this thesis. Both programs have evolved from outreach projects to currently serving as Community Music Schools within their respective areas of Athlone and Kuils River and have proven to be major contributors to the landscape of music education in the greater Cape Town area. Their contribution stems not only from their continued existence for almost two decades and their output of successful current and past students, but they also provide researchers with opportunities to document aspects of Community Music within the South African context. The Athlone Academy of Music and the Western Cape Music Education Project, in existence for twenty and eighteen years respectively, have witnessed significant changes to their infrastructure, management, and funding since the last studies conducted on them in 2009, and have continued to exist in a competitive funding environment which constantly poses a threat to their sustainability. Although both programs are faced with distinct funding shortages, their continued existence has shown that factors that contribute towards sustainability may not be related to funding. This study documents the current situation of both case studies, describing their challenges and successes from the viewpoint of key stakeholders. To achieve the objective of this research, qualitative methods of data collection were used and included semi-structured interviews, field notes and observations. The study established that there are multiple factors that influence the sustainability of the two Community Music Schools. Another important result is that this study provides documentation on the evolution of two established Community Music Schools as well as information vital to gaining a better understanding of the successes and challenges of such programs and their links to factors of sustainability. The results of this study provide opportunities for further areas of research regarding Community Music in the South African context. Keywords: Sustainability, Interaction, Community Music, Community Music School, funding, successes, challenges, project leaders, teachers, partnerships. Stellenbosch University https://scholar.sun.ac.za
Gemeenskapsmusiek is ‘n florerende en ontwikkelende veld binne die Suid-Afrikaanse konteks en strek oor verskeie praktyke en omgewings. GMPe in die Wes-Kaap, en meer spesifiek die groter Kaapstad-gebied, is besig om op die voorgrond te tree en dien telkens as uitreikings- en opvoedkundige inisiatiewe om diegene van voorheen en tans benadeelde gemeenskappe deur middel van betrokkenheid in verskeie musiekaktiwiteite, op te hef. Alhoewel talle GMPe aanvanklik suksesvol is, is die sukses onvolhoubaar weens verskeie faktore wat dikwels nie gedokumenteer is nie. Programme wat meer formele aspekte van musiekopvoedkunde insluit, soos programme wat as GMSe funksioneer, ondervind unieke suksesse en uitdagings wat as faktore wat tot hul volhoubaarheid bydra. Twee GMPe wie se ontstaan in uitreiking gegrond is, en wie se doelwitte ook die voorsiening van gehalte musiekopvoedkunde insluit, is die Athlone Academy of Music en die Western Cape Music Education Project, wat as gevallestudies vir hierdie tesis dien. Beide programme het vanuit uitreikingsprojekte ontwikkel en dien tans as GMSe binne hul onderskeie gebiede van Athlone en Kuilsrivier en het sodoende 'n groot bydrae tot die landskap van musiekopvoedkunde in die breër Kaapstad-gebied verskaf. Hierdie bydrae spruit nie slegs uit hul voortbestaan van byna twee dekades, asook die sukses van hul oud - en huidige studente nie, maar hulle bied ook aan navorsers die geleentheid om GM binne die SA konteks aante teken. Die Athlone Academy of Music en die Western Cape Music Education Project, in bestaan vir twintig en agtien jaar onderskeidelik, het sedert die laaste studies wat in 2009 behartig is, belangrike veranderinge tot hul infrastruktuur, bestuur en befondsing ondergaan, en het te midde van 'n mededingende omgewing in terme van befondsing, wat voortdurend 'n bedreiging vir hul volhoubaarheid inhou, voortbestaan. Alhoewel beide programme met onmiskenbare gebrek aan befondsing gekonfronteer word, dien hul voortbestaan as bewyse dat die faktore wat tot hul volhoubaarheid bydra ook nie noodwendig met befondsing verband hou nie. Hierdie studie dokumenteer die huidige situasie van beide gevallestudies waarin hul uitdagings en suksesse vanuit die oogpunt van die belanghebbendes beskryf word. Om die doel van hierdie navorsing te bereik is kwalitatiewe metodes van data-insameling gebruik wat semi-gestruktureerde onderhoude, veldnotas en waarneming ingesluit het. Deur van hierdie metode gebruik te maak het die studie vasgestel dat verskeie faktore die volhoubaarheid van die twee GMSe kan beïnvloed. Nog 'n belangrike uitkoms van die navorsing is dat hierdie studie dokumentasie omtrent die ontwikkelingsgang van die twee GMSe verskaf, asook inligting noodsaaklik tot 'n beter begrip van die suksesse en uitdagings van soortgelyke programme en hul verbintenis tot volhoubaarheidsfaktore. Die uitkoms van hierdie studie verskaf geleenthede vir verdere areas van navorsing ten opsigte van GM binne die Suid-Afrikaanse konteks. Sleutelwoorde: Volhoubaarheid, Interaksie, Gemeenskapsmusiek, Gemeenskaps-musiekskool, bevondsing, suksesse, uitdagings, projekleiers, onderwysers, vennootskappe Stellenbosch University https://scholar.sun.ac.za
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Danesin, Elisa <1993>. "Italian as a Foreign Language in Conservatories of Music - Opera as a cultural and linguistic learning resource." Master's Degree Thesis, Università Ca' Foscari Venezia, 2020. http://hdl.handle.net/10579/17192.
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This dissertation stems from the wish to observe and study the way Italian as a foreign language is taught and learned in the specific environment of Conservatories of Music. Starting from the literature centered around the issues of students’ motivation, it first considers the role of the cultural factor within the studies on motivation and whether or not it is a relevant factor contributing to the upkeep of students’ motivation. Subsequently, its focus shifts more specifically towards language teaching and it touches upon the subject of Content and Language Integrated Learning (CLIL), analyzing the different teaching strategies adopted in this particular kind of classroom and the different roles taken by both the teachers and the students compared to a more traditional approach to learning, once again taking into consideration how the cultural factor plays a substantial role in ensuring that the students stay motivated in their learning. Moreover, within the spectrum of more innovative approaches to teaching a foreign language, it brings forth the multimodal approach and what benefits it provides the students with in terms of their engagement in the learning process and a more direct access to the culture associated with the language they are being taught.
In the context of a multimodal approach to teaching a foreign language, it then focuses more specifically on how music can be used as a useful medium through which students can be kept engaged and interested in learning a foreign language and the issues and advantages this approach brings to the classroom; in particular, it focuses more specifically on how the operatic genre can be utilized in this sense, once again considering the cultural impact this addition to the curriculum will bring to the students’ experience of learning the foreign language. With Italian being such a prominent language in the genre, the paper touches, then, upon the way the teaching of Italian as a foreign language has evolved over the years and its current status in the world.
Finally, with a questionnaire aimed at international and exchange students currently studying in Italy for their degrees in various musical disciplines, it intends to inquire about the situation of the teaching of Italian as a foreign language within the Conservatories of Music and about the perception foreign students have of their knowledge and skills in Italian, as well as attempt to explore the possibility of utilizing alternative learning materials such as operatic performances and librettos to incentivize the learning of the language. Moreover, it takes interest in exploring what learning tools and resources international and exchange students are offered by the institution in order to facilitate their learning of Italian, both in the Italian Conservatories and, in the case of exchange students, their home institutions, and what is the students’ opinion on their helpfulness in their studies. Furthermore, it inquires whether or not students consider their knowledge of the Italian language to be a skill that will be useful to them in their musical careers.
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Yau, Christine Ngai Lam. "The nature of one-to-one instrumental/vocal pedagogy in music conservatoire setting : two cases from a UK conservatoire." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709344.
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Maung, May Win Michelle. "Exploratory study for the establishment of a planned community music school in Yangon, Myanmar." HKBU Institutional Repository, 2007. http://repository.hkbu.edu.hk/etd_ra/888.
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Hantelmann, Carola. "Die soziokulturelle Bedeutung einer Musikschule für ihre Region : untersucht am Beispiel der Musikschule Ravensburg, e.V. /." Konstanz : Hartung-Gorre, 2001. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=009632648&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Cheung, Wing-him Edward, and 張穎謙. "HKU extension: Music & Fine Arts complex." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31986341.
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Campayo, Muñoz Emilia Ángeles. "El desarrollo de las competencias emocionales como herramienta para la mejora de la interpretación musical en las enseñanzas de música en conservatorios." Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/405462.
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La presente investigación se enmarca en el ámbito de
los estudios musicales en conservatorios. La motivación
principal de esta tesis reside en el interés de encontrar
nuevas metodologías aplicables dentro de las enseñanzas en
conservatorios con tal de favorecer una formación holística
del futuro profesional de la música. Para ello, aprovechando
la relación entre la música y las emociones, decidimos diseñar
un programa de educación emocional ah hoc destinado a ser
implementado durante un año escolar en las asignaturas de
instrumento individual y de conjunto de alumnos de 3er curso
de piano de las enseñanzas elementales.
El objetivo principal de esta investigación es observar
si los alumnos que desarrollan sus competencias emocionales
mejoran su interpretación musical. De esta forma, una
formación fundamentada en el desarrollo emocional del
estudiante quedaría justificada. La investigación se llevó a
cabo mediante el estudio de 3 casos desarrollados como un
proceso de investigación-acción. Las técnicas utilizadas para
la recogida de datos fueron la entrevista, la observación, el
diario del profesor y un cuestionario para evaluar las
competencias emocionales del alumnado (CE-360º). Los
resultados y sus implicaciones en el ámbito de las enseñanzas
musicales son discutidos.The present research is framed in the field of music education in conservatoires. Its main motivation lies in the interest of finding new methodologies that can be applied in teaching music in conservatoires in order to promote a holistic education for forthcoming professional musicians. To this aim, taking advantage of the relationship between music and emotions, we designed an ah-hoc emotional education program intended to be implemented during an academic year in the subjects of individual instrument and ensemble in students of 3rd year of elementary studies. The main objective of this research is to observe if students who develop their emotional competences improve their musical performance. In this way, music education based on the student's emotional development would be justified. The research was carried out exploring 3 case studies developed as an action-research process. The techniques used for data collection were interviews, observation, teacher's diary and a questionnaire to evaluate the emotional competences of students (CE-360º). The results and their implications in the field of music education are discussed.
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Bou, Jimmarie. "The making of a public institutional building : a design for the new conservatory of music of Puerto Rico." Thesis, Georgia Institute of Technology, 2001. http://hdl.handle.net/1853/23990.
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Boned, Marí María Laura. "Estudio interpretativo del repertorio de Música Española para violín: El caso de las Islas Baleares." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/371440.
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El objeto de investigación es obtener información sobre la casuística de los programas de estudio de los instrumentos de cuerda, centrándose en el de violín ya que dichos programas contemplan como material opcional el estudio de obras de compositores españoles. Por ello, se quiso descubrir si el motivo era la no existencia de dichas obras o la no utilidad pedagógica que pudiesen presentar. El estudio se incluirá en el contexto educativo de las Enseñanzas Artísticas (Música) que se imparten en Conservatorios y Escuelas de Música, centrando el mismo, en el ámbito de la C. A. de las Islas Baleares.
Se trata de una investigación cualitativa ya que se ha indagado sobre la premisa de si existe repertorio español para violín y si éste es lo suficiente variado técnica e interpretativamente para poder elaborar una Propuesta Curricular que englobe los tres niveles de estudios, Grado Elemental, Grado Profesional y Grado (superior) y sus respectivos cursos. El estudio se centra en el paradigma interpretativo puesto que se han estudiado, analizado, clasificado e interpretado los datos y materiales que se han encontrado. También se han formulado unos objetivos, elaborado una serie de instrumentos y en base a los datos introducidos en ellos, se han extraído una serie de conclusiones.
La investigación tiene en cuenta la Ley de Educación vigente en todo el Estado Español concretándose en la ley sobre Enseñanzas Artísticas desarrollada por la Comunidad Autónoma de las Islas Baleares, ya que esta comunidad cuenta con una política curricular propia. Se ha realizado una revisión y análisis de los curricula, centrándose en los de los Conservatorios de Palma de Mallorca, y se ha realizado una concreción de ellos secuenciando los contenidos por Grados (Elemental, Profesional y Grado superior) y por cursos.
Se ha llevado a cabo una amplia recopilación de materiales de música española para violín, concretamente 443 obras, y han sido clasificados como métodos para violín, estudios y caprichos, tratados y obras. Gracias al análisis de los elementos técnicos e interpretativos de dichos materiales y en base a la concreción curricular realizada, se ha podido elaborar una Propuesta Curricular que incluye los mismos apartados con los que han sido clasificados los materiales, además de su clasificación por Grados y cursos.
Una vez finalizada la investigación se cree que ésta ayudará a la difusión y conservación del repertorio violinístico español, además se facilitará a los docentes una herramienta de consulta a la hora de buscar repertorios para sus alumnos y adecuarlo a sus capacidades y a las exigencias curriculares. Concluyendo, este estudio contribuirá a la construcción de conocimiento y será el punto de partida de futuras investigaciones.The main objective of this investigation is to obtain information on the casuistry of the curricula relating to stringed instruments, focusing on the violin. Normally violin programs do not include works by Spanish composers as its basic repertoire. This, in turn, raises the question as to the reason for the absence of such works and whether or not there is educational usefulness to be gained from this material. It is included into the educational context of Artistic Education (namely music), taught in conservatories an music schools, which departs from that stipulated by the Education Act in force throughout the entire Spanish State System focusing on the region of the Balearic Islands. It is framed within the qualitative investigations, as it is based on the premise whether there is Spanish repertoire for violin and if there is enough technical and interpretatively variety on it so we could develop a Curricular Proposal which comprises the three levels of studies, Elementary, Professional and Superior, and its courses. It also embraces the interpretative paradigm since we had studied, analyzed, classified and interpreted the materials found. A review of the curricula had been done, concretely the ones from the Conservatories of Palma de Mallorca, with the intention to specify and sequence its content in the three levels of studies (Elementary, Professional and Superior) and its courses. A large number of Spanish violin materials had been collected, concretely 443 works, and classified into violin methods, studies and caprices, tractates and works. Through the analyses of the technical and interpretative elements of the materials we were able to develop a curricular proposition which includes the same sections with which materials had been classified as well as by levels and courses. Once the investigation had been finished we believe that it will help into the dissemination and preservation of the Spanish violin repertoire and it will provide educators and musician with a tool to consult when looking for repertoires for themselves or for their students. Concluding, this study will contribute to build knowledge and will open a line for future research.
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Pimentel, Maria Odília de Quadros. "Traços de percursos de inserção profissional : um estudo sobre egressos dos conservatórios estaduais de música de Minas Gerais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/122546.
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O presente trabalho teve como objetivo geral investigar a inserção profissional de egressos dos cursos técnicos dos Conservatórios Estaduais de Música de Minas Gerais (CEM). Os objetivos específicos buscaram identificar quem são os egressos dos cursos técnicos dos CEM; mapear as atividades profissionais dos egressos; examinar suas condições de trabalho; e analisar a avaliação dos egressos sobre o curso técnico. Nortearam o trabalho os conceitos de inserção profissional, trabalho, emprego e ocupação, além da definição de precarização e flexibilização do trabalho. O método escolhido foi o de levantamento ou survey, sendo que a população do survey foi composta pelos egressos dos cursos técnicos de dez dos 12 CEM dos anos de 2010, 2011 e 2012. A amostra foi considerada probabilística aleatória simples e o instrumento de coleta de dados escolhido foi o questionário autoadministrado via internet. Para analisar os dados, foi utilizada a estatística descritiva, realizada a partir de análises univariadas, bivariadas e comparação de subgrupos, e a estatística inferencial, realizada através de testes de significância estatística. Neste trabalho, a inserção profissional é considerada um percurso, um processo educativo. O percurso da inserção profissional dos egressos dos CEM é esboçado a partir dos traços deixados por esses egressos, imprescindíveis para demarcar aspectos que demonstram as relações que os egressos estabelecem entre o curso técnico oferecido pelos CEM e suas escolhas profissionais. Os resultados indicaram que os percursos de inserção profissional dos egressos são marcados por características sócio-demográficas, como idade, raça/etnia, sexo e religião; pela precocidade, tanto da formação quanto da atuação profissional; pela continuidade da formação, seja na área de música ou em outras áreas; e, em alguns casos, pela disfunção da inserção profissional, já que nem todos passam a atuar profissionalmente na área do curso depois de o terem concluído. Em relação às condições da atuação profissional, apesar da precariedade e flexibilidade no trabalho e dos baixos salários, abaixo da média nacional para a maioria dos egressos, a satisfação dos egressos com seu trabalho atual é alta e a avalição dos cursos, para a grande maioria dos egressos, bastante positiva; o mercado na área de música se caracteriza pela crise do emprego e não do trabalho. As atividades musicais realizadas profissionalmente pelos egressos são variadas e têm relação com vários momentos do sistema cultural, indicando que, embora os cursos técnicos dos CEM tenham como finalidade central a formação de cantores e instrumentistas, eles não fixam uma identidade única para seus egressos. A inserção profissional dos egressos é caracterizada como um mosaico de trajetórias, que se constitui a partir de egressos que permanecem na área de música, seja estudando, trabalhando, ou estudando e trabalhando, egressos que se deslocam para outras áreas, porque não encontraram as condições de trabalho desejadas ou porque não buscavam se profissionalizar em música, e egressos que se mantêm vinculados à área de música, participando de grupos musicais e desenvolvendo trabalho voluntário. Esses resultados poderão subsidiar a avaliação e o planejamento dos cursos técnicos dos CEM, contribuindo, assim, para uma melhor compreensão da articulação dos cursos com o mercado de trabalho da área de música e, de modo mais amplo, com a sociedade.The general aim of the present research was to investigate the professional insertion of the former students of the Minas Gerais State Conservatories of Music (CEM) technical education programs. The specific objectives aimed to identify who are the CEM‟s former students; to map their professional activities; to examine their working conditions; and to analyze how they evaluate the technical program they have attended. This research was guided by the concepts of professional insertion, labor, employment and occupation, as well as by the definition of job insecurity and work flexibility. The method chosen to carry out this study was the survey, and students, who have completed the technical education program from 10 out of the 12 CEMs in the years 2010, 2011 and 2012, composed the sample population of the survey. A random probabilistic sampling was used and the data collection instrument chosen was a self-administrated on-line questionnaire. In order to analyze the data, descriptive statistics was carried from univariate, bivariate and sub-group comparison analyzes, and inferential statistics undertaken through tests of statistical significance. Throughout this research, the professional insertion is considered a path, an educational process. The professional insertion path of the former CEM students is outlined from traces left by them, traces that are essential to demarcate the aspects that show the relation that the former students establish between the technical education offered by the CEM and their professional career choices. The results indicate that the former student‟s professional insertion path is marked by social-demographical characteristics, such as age, race/ethnicity, sex and religion; by precociousness, both in their formation and in their professional performance; by a continuity of their professional formation, in the musical field or in other areas of study; and, in some cases, by a professional insertion dysfunction, since not all of the former students have been working in the area of their formal training. Regarding the working conditions, in spite of the job insecurity, work flexibility and the low salaries – which are below the national average for most of the former students, their satisfaction with their jobs is high and the courses evaluation – for the majority of the former students – is very positive. The job market for music careers is characterized by an employment crisis and not by a working crisis. The former students perform various musical activities related to different moments of the cultural system. This fact indicates that, although the CEM‟s technical programs have as their main goal the formation of singers and instrument players, they do not attach a unique identity to their former students. A mosaic of trajectories characterizes the former CEM students‟ professional insertion. This mosaic is constituted by former students that continue to work in the music field – either as students, as professionals or as both students and professionals; former students who migrate to different careers because they couldn‟t find the desired working conditions or because they did not want to professionalize in music; and former students who are still attached to the musical field through the participation in musical groups and/or developing volunteer work. The results of the present research can enable the evaluation and planning of the CEMs, and therefore contribute to a better understanding of the programs‟ articulations with the job market for music graduates and, in a broader way, with the whole society.
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Regnard, Françoise A.-M. L. "La formation initiale des professeurs de musique: la construction d'une identité de musicien-enseignant." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210647.
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La thèse porte sur la construction d'une identité spécifique chez les professeurs des écoles de musique: musicien et enseignant. La recherche s'intéresse aux personnes musiciennes qui suivent un cursus de formation initiale à l'enseignement musical spécialisé et montre, par l'analyse de différents parcours, comment l'identité de musicien s'articule avec l'identité d'enseignant.In english
The thesis relates the construction of specific identity to the professors of the music schools: musicians and teachers. The research task concerns the study of musician people who follow an initial training specialized in musical teaching and shows, by the analysis of various training directions, how the identity of the musician turns around the teacher’s identity.
Doctorat en Sciences Psychologiques et de l'éducation
info:eu-repo/semantics/nonPublished
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Hoffman, Sophie. "Becoming a Composer: How postgraduate conservatorium students develop their musical identities." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/15991.
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Musical identities research demonstrates the many roles that music plays in our everyday lives. For musicians, music is more than just a tool for self-discovery; it is a way of life, built over years of support, participation and love. The musical identities of performers have been explored in detail while composers’ identities have been explored predominantly through their compositions. The aim of this study is to investigate how composers establish and develop compositional identity. Five postgraduate composition students at The Sydney Conservatorium of Music participated in semi-structured interviews about their musical backgrounds, experiences and interests. Five main themes emerged as central to composer identity formation: ‘The Power of Music’, ‘Motivation to Compose’, ‘Influential Relationships’, ‘Environmental Factors’ and ‘Compositional Community’. Music was essential to the composers’ self-concepts. They were compelled to compose. They were determined to prove their worth through their music. And, they recognised the influence of their communities on their musical choices. These composers shared an understanding of the creation and continual development of their compositional identities through an alignment of these elements.
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Loayza, Jiménez Mathiuz. "Nueva sede del Conservatorio Nacional de Música." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657366.
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El presente proyecto desarrolla la propuesta arquitectónica para la Nueva Sede del Conservatorio Nacional de Música, a través de una investigación descriptiva y proyectiva, que permita una visión general en respuesta a las necesidades y proyección de crecimiento de las sedes del actual Conservatorio Nacional de Música. Para ello se ha tenido en cuenta diferentes aspectos según del usuario, como la necesidad de mayores espacios, aumentar la capacidad de alumnado y satisfacer la futura demanda. El proyecto se encuentra ubicado en distrito de Pueblo Libre, en el cruce de la avenida Universitaria con la avenida Mariano H. Cornejo. Será parte del proceso de descentralización de las actividades culturales, teniendo cercanía con distritos con déficit de equipamiento cultural y reforzando el eje de equipamiento educativo. El proyecto arquitectónico plantea los ambientes necesarios para el desarrollo de las actividades del conservatorio, así como diversos espacios de presentaciones con diferentes capacidades de visitantes. Además, propone espacios comerciales complementarios al proyecto.The project develops the architectural proposal for the New Campus of the National Conservatory of Music, through a descriptive and projective research, which allows a general vision in response to the needs and projection of growth of the campus of the current National Conservatory of Music. For this, different aspects have been taken into account depending on the user, such as the need for larger spaces, increasing the capacity of students and meeting future demand. The project is located in the Pueblo Libre district, in the city of Lima, the capital of Peru. Is at the crossroad of Universitaria avenue and Mariano H. Cornejo avenue. It will become part of the process of decentralization of cultural activities, having proximity to districts with a deficit of cultural equipment and reinforcing an axis of educational equipment. The architectural project proposes the necessary environments for the development of the activities of the conservatory, as well as various presentation spaces with different visitor capacities. In addition, it proposes commercial spaces complementary to the project.
Tesis
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De, Incontrera Carlo. "Biblioteca del Conservatorio Giuseppe Tartini di Trieste : il Fondo antico." Bachelor's thesis, Università degli Studi di Trieste, 2001. http://hdl.handle.net/10077/21886.
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Teruya, Taira Carlos Alberto. "La nueva sede del Conservatorio Nacional de Música." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2021. http://hdl.handle.net/10757/657255.
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La nueva sede del Conservatorio Nacional de Música, institución de Educación Superior Pública que en la actualidad es la Universidad Nacional de Música, es un proyecto que propone unificar las 3 sedes existentes y, consolidar 5 pilares fundamentales: La importancia de la educación, la cultura, el patrimonio, el usuario y la arquitectura. Como énfasis arquitectónico se propone “el encuentro entre personas como clave para generar conocimiento”. Basados en los espacios intermedios, estos permiten que sucedan el encuentro, las buenas conversaciones y la generación de conocimiento. El proyecto ubicado en el distrito de Cercado de Lima, Provincia de Lima, Departamento de Lima; mantiene el Centro Histórico de Lima como su escenario desde su nacimiento en 1927The new headquarters of the National Conservatory of Music, an institution of Public Higher Education that is currently the National University of Music, is a project that proposes to unify 3 existing headquarters and consolidate 5 fundamental pillars: The importance of education, culture, heritage, user and architecture. As an architectural emphasis, "the encounter between people as the key to generating knowledge" is proposed. Based on the intermediate spaces, they allow encounters, good conversations and the generation of knowledge to take place. The project located in the district of Cercado de Lima, Province of Lima, Department of Lima; maintains the Historic Center of Lima as a setting since its birth in 1927.
Tesis
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Meiggs, Baldeon Enrique Javier. "Nueva sede para la Universidad Nacional de Música (Ex Conservatorio de Música) en San Borja." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652395.
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En el Perú existe una falta de difusión cultural y debido a esto muchas carreras artísticas como la música no tienen el valor que se merece, esta despreocupación ha llevado a que la única casa nacional de educación superior de música se encuentre en un estado lamentable con respecto a su infraestructura.
Con este proyecto se busca satisfacer las necesidades educacionales para aquellos interesados en algunas de las 25 especialidades que ofrece La Universidad Nacional de Música (ex conservatorio) y teniendo en cuenta las especificaciones técnicas de los ambientes a desarrollar.
El partido arquitectónico busca una relación confortable entre el usuario con el objeto arquitectónico a través del recorrido y estancia.
La nueva sede de La universidad Nacional de Música busca brindar una infraestructura adecuada a todos los estudiantes.In Peru there is a lack of cultural diffusion and because of this many artistic careers, as music does not have the value it deserves, this lack of concern has led to the only national house of higher music education being in a sorry state with Regarding your infrastructure. This project seeks to meet the educational needs for those interested in some of the 25 specialties offered by the National University of Music (former conservatory) and taking into account the technical specifications of the environments to be developed. The architectural party seeks a comfortable relationship between the user and the architectural object through the route and stay. The new headquarters of the National University of Music seeks to provide adequate infrastructure to all students.
Trabajo de investigación
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Vieira, Lia Braga. "A construção do professor de musica : o modelo conservatorial na formação e na atuação do professor de musica em Belem do Para." [s.n.], 2000. http://repositorio.unicamp.br/jspui/handle/REPOSIP/252039.
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Orientador: Leticia Bicalho CanedoTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Doutorado
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Kirchhubel, Julie, and n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.
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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
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Kirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.
Full textAbstract:
The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Cognition, Language and Special Education
Faculty of Education
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Gorbe, Martínez Eulalia. "La formación en la excelencia musical en los conservatorios superiores. Exploración y puesta en práctica desde la acción docente." Doctoral thesis, Universitat Jaume I, 2017. http://hdl.handle.net/10803/405423.
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La investigación acción llevada a cabo en el Conservatorio Superior de Música de Navarra se centra en la mejora de la búsqueda de la excelencia. Se parte de la idea de que para conseguirla es necesario apoyarse en el saber existente, contar con la sinergia de muchos recursos y desarrollarse en un ambiente que proporcione respeto, apoyo y libertad para arriesgar y explorar sin miedos. Evidencia la necesidad del estudiante convencido y apoyado, consciente de que va a ser su mejor profesor y de que va a tener que valorar y desarrollar la creatividad, el aprendizaje colaborativo, su “punto fuerte” y la práctica mental y se propone el concepto de “aprendizaje complejo”, que aplica la teoría de Carol Dweck (1998) sobre la mentalidad fija y en crecimiento y ayuda a los estudiantes de la enseñanza superior a transitar de la una a la otra en un contexto de aprendizaje colaborativo.The action research developed in the Conservatorio Superior de Música de Navarra focuses on the improvement of the search for excellence. It is based on the idea that in order to achieve excellence we need: to rely on the actual knowledge, to consider the synergy of different resources and to develop it in an environment that provides respect, support and freedom to take risks and explore without fear. It shows the necessity of the convinced and supported student who is conscious that he is going to be his best teacher and that he will have to value and develop the creativity, the collaborative learning, his strengths and mental practice. It is proposed the concept of “complex learning”, which applies the theory of Carol Dweck (1998) regarding fixed mindset and growing mindset, helping students of higher education to move from the former to the latter in a context of collaborative learning.
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Macrae, Barbara. "Case studies examining the effects of specialist schooling on successful musicians." Master's thesis, Faculty of Education and Social Work, 1989. http://hdl.handle.net/2123/11719.
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Yeadon, Daniel Edward. "The Sydney Conservatorium Early Music Ensemble: An activity-theoretical study of the impact of period instruments, historically-informed performance and a unique pedagogy on tertiary group-learning experiences." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/14867.
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This PhD thesis is focused on the learning experiences of students in the Sydney Conservatorium Early Music Ensemble (EME). It sheds light on an area that remains relatively under-researched to date: the group-learning experiences of tertiary-level music students. EME provides its members with an opportunity to experiment with period instruments and to explore repertoire from the late Renaissance to early Classical periods with a historically-informed approach to music making. The tutors of the ensemble, all of whom are expert practitioners in the field of historically-informed performance (HIP), have nurtured a pedagogy that embraces elements of informal peer learning and stimulates active participation and collaboration. The main claim of the thesis is that period instruments, HIP, a broadly constructivist tutor approach and collaborative peer learning all play a significant role in stimulating deeper learning and actively engaged music making. As part of the purely qualitative research design twelve EME students are interviewed about their experiences of learning to play period instruments and their perceptions of a collaborative learning environment, including the role of peers and tutors. A series of open-ended interview questions serves to gain insights into the principal research questions: what learning possibilities do the instruments offer and how do the students experience this alongside the mental and physical rigours of HIP, the unique approach of the tutors and interactions with peers? In seeking a theoretical framework to help explore the interrelationships between the materials and the 'actors' in EME, Cultural-Historical Activity Theory (CHAT) offers a particularly helpful perspective. This research approach incorporates both ‘tools’ and the learning community as integral influences in the learning process. As such it facilitates a holistic investigation of the learning and teaching relationships in the specific EME environment and the ‘affordances’ or learning potential of the materials involved. My research claim is firmly supported by the findings in this study. The students provide ample evidence of a broad range of deep learning experiences associated with period instruments and HIP. In addition the benefits of multiple elements of group-learning are identified: a continuum of formal and informal learning, collaborative peer learning, and a reflective tutor approach that embraces active participation. The study contributes to CHAT in the realm of the arts and has positive implications for the role of period instruments, HIP and the value of group-learning situations in western-style conservatoires and other tertiary music institutions.
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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy." Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.
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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.
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Giron-Panel, Caroline <1979>. "À l'origine des conservatoires : le modèle des ospedali de Venise (XVI-XVIII siècles)." Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/1140.
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La fondation des quatre ospedali de Venise témoignait de l’influence des idées humanistes et des idéaux de la Réforme catholique sur l’aide à apporter aux pauvres, aux malades et aux orphelins. La structure politique et sociale particulière de la République Sérénissime s’était traduite par une implication particulièrement forte des patriciens et des citoyens dans ces institutions où se nouaient de profitables alliances. Le contexte particulier des années 1630, qui virent s’ouvrir les premiers théâtres d’opéra, s’était ajouté à la présence dans les ospedali de nombreux enfants susceptibles de recevoir une formation musicale de haut niveau pour faire naître de véritables écoles de musique. Limitée à l’origine à l’accompagnement des offices, l’activité musicale prit au XVIIIe siècle une grande importance, la sélection rigoureuse des musiciennes et le choix des meilleurs compositeurs contribuant à faire des chœurs des ospedali l’épicentre de la vie musicale vénitienne. Les « filles du chœur », qui seules recevaient une formation musicale, pouvaient ensuite entrer dans les ordres ou se marier. Bien qu’il leur fût interdit de se produire en public hors de leur ospedale, certaines d’entre elles parvinrent en effet à faire carrière au théâtre. Elles contribuaient ainsi à faire connaître hors des frontières de la République des institutions uniques en Europe, de plus en plus présentes dans les récits des voyageurs et qui participèrent pleinement, jusqu’à la fin du XVIIIe siècle, au mythe de Venise. Avec les conservatoires de Naples, les ospedali offrirent ainsi un modèle italien d’école de musique exportable en Europe.The foundation of the four ospedali of Venice revealed the influence of the humanist ideas and the ideals of the catholic reformation on the philanthropy towards the poor, the sick and the orphans. The specific political and social structure of the Venetian Republic explains the strong implication of the patricians and the cittadini within those institutions, where they could develop profitable alliances. The particular context of the 1630s, when the first theatres of opera opened, added itself to the presence in the ospedali of many children who could be taught music at a high level to give birth to real music schools. Originally conceived to accompagny religious services, the musical activity became very important in the XVIIIth century : as the musician girls were specially selected and the composers were carefully chosen, the ospedali choirs became the epicentre of the Venetian musical life. The "choir girls", who were the only ones to be taught music, could then take the veil or get married. Although they were forbidden to perform in public outside their ospedale, some of them made their career on the stage. Their fame spread wide over the borders of the Republic, and they thus participated to have the ospedali known throughout Europe. These unique institutions were more and more mentioned in the travel diaries and they played a role in the durability of the myth of Venice until the end of the XVIIIth century. Along with the musical academies of Naples, the Venetian ospedali created an Italian model for other European music schools.
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Taghian, Eftekhari Ladan. "Joao Domingos Bomtempo : itinéraire de son oeuvre." Paris 8, 1998. http://www.theses.fr/1998PA081549.
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L'oeuvre de joao domingos bomtempo (1775-1842), le premier symphoniste et le seul preromantique portugais, fut longtemps occultee. Elle se situe dans la periode de transition entre le classicisme et le romantisme. Avec la fin du mecenat, les musiciens aspirent a leur independance. Au lendemain de la revolution francaise (en 1803), bomtempo se revela pianiste virtuose et compositeur dans un paris en fete et en effervescence culturelle. Apres l'occupation du portugal par napoleon, il composa et executa d'autres oeuvres a londres (1810-1814), ou il devint membre fondateur de la societe philharmonique. Il publia ses oeuvres a paris, chez leduc et pleyel, et a londres chez clementi. Il retourna a la musique sacree (d'ou il venait; il avait connu une education musicale religieuse et avait ete hautbois de l'orchestre de chambre du roi a lisbonne). Il devint militant de ta cause liberale et composa des oeuvres inspirees par le mouvement social portugais. Notre analyse esthetique porte sur quelques de ses oeuvres instrumentales (sonates, concertos, variations, symphonies et oeuvres religieuses). Pour saisir son oeuvre dans son itineraire, nous avons prefere une notion qui implique l'etude de son attitude, de l'interieur de son vecu, pendant cette periode de transition historique et sociale: la mouvance romantique; nous considerons bomtempo comme l'un de ses prototypes. D'ou notre effort constant de vouloir trouver le sens esthetique de ses oeuvres a la lumiere des transformations sociales et historiques au portugal et en europe, surtout pendant la premiere moitie du xixeme siecle. Apres la revolution liberale portugaise de 1820, bomtempo fonda la societe philharmonique (1822), alors que l'opera italien faisait rage en europe et surtout au portugal. Il fonda ensuite, en 1835, le conservatoire de musique de lisbonne. Cette derniere institution laicisa l'enseignement de la musique; pour la premiere fois les portugaises y accedaientThe work ofjoao domingos bomtempo (1775-1842), the first symphonist and the only preromantic portugese musician, has been occulted for a long time. It takes place in a period of transition, between classicism and romantism. With the era of patronage ending, musicians were aspiring after their independence. In 1803, bomtempo was in paris and appeared to be a composer and a virtuoso pianist. After the occupation of portugal by napoleon, he composed and executed other pieces in london (1810-1814) where he became a founder member of the philharmonic society. He published his compositions in paris by leduc and pleyel, and in london by clementi. He also composed pieces of religious music (he had been educated in religious music and a oboist to the portuguese royal chapel). He became a militant to the liberal cause. We have analysed some of his intrumental pieces from the point of view of esthetics (sonatas, concertos, variations, symphonies and religious compositions). To understand the evolution of his work, we chose to examine the way he lived and felt during this period of historical and social transition, that is the romantic stream of which he was representative. We attempted thus to find the esthetic dimension of his work through the social and historical transformations of portugal and europe in that period. After the 1820 portuguese liberal revolution, bomtempo founded the philharmonic society at a time when italian opera was in vogue in all europe and especially in portugal. He then founded in 1835 the conservatory of music in lisbon. This institution caused laicization of musical education, allowing for the first time women to study music
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BIANCHI, KORNER ALESSANDRA. "L'INSEGNAMENTO DELL'ITALIANO A CANTANTI D'OPERA INTERNAZIONALI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6167.
Full textAbstract:
L’elaborato indaga le modalità di insegnamento della lingua e della dizione italiana ai cantanti d’opera internazionali. Dopo una breve cronistoria dell’opera lirica, si analizza la figura del librettista e in particolare di Lorenzo Da Ponte, insegnante ante litteram della lingua e della cultura italiana. Segue una disamina dei corsi di canto degli albori, dalla quale emerge quanto il problema di una corretta pronuncia fosse cruciale nell’educazione dei cantanti già nel Settecento.
Si indagano le metodologie di insegnamento della fonetica e della prosodia nella storia della glottodidattica, i fattori biologici e psico-sociali determinanti nell’apprendimento di una L2/LS e le principali difficoltà linguistiche incontrate dai discenti stranieri che si accingono ad apprendere la lingua italiana.
Si presentano i dati di una ricerca condotta su dieci istituzioni musicali tra i quali il Conservatorio di Milano, la Juilliard School of Music di New York e la Washington State University di Seattle. Si analizzano le metodologie di insegnamento e i manuali adottati e si espongono i dati emersi da un questionario rivolto ai docenti e ai discenti delle suddette scuole.
Si procede esponendo un sillabo ideato per i cantanti che permetta uno studio più proficuo della lingua e della dizione italiana.The research investigates the teaching procedures of Italian language and diction to international opera singers. After a brief digression on the lyric opera, we analyze the figure of librettista and in particular of Lorenzo Da Ponte, a forerunner of the Italian language and culture teaching. An examination of the first singing courses shows how teaching a impeccable pronunciation was already crucial in the XVIII century. The phonetics and prosody teaching procedures in the history of glottodidactics are then examined, as well as the biological and psycho-social factors critical while learning a foreign language and the main linguistic difficulties faced by foreign students approaching the Italian language. We present the data of a survey conducted on ten musical institutions like the Milan Conservatory, the Julliard School of Music of New York and the Washington State University of Seattle. We analyze the teaching procedures and the textbooks adopted and the results of a questionnaire addressed to the teachers and students of these schools. Finally we display a syllabus for international opera singers to profitably approach the Italian language.
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BIANCHI, KORNER ALESSANDRA. "L'INSEGNAMENTO DELL'ITALIANO A CANTANTI D'OPERA INTERNAZIONALI." Doctoral thesis, Università Cattolica del Sacro Cuore, 2015. http://hdl.handle.net/10280/6167.
Full textAbstract:
L’elaborato indaga le modalità di insegnamento della lingua e della dizione italiana ai cantanti d’opera internazionali. Dopo una breve cronistoria dell’opera lirica, si analizza la figura del librettista e in particolare di Lorenzo Da Ponte, insegnante ante litteram della lingua e della cultura italiana. Segue una disamina dei corsi di canto degli albori, dalla quale emerge quanto il problema di una corretta pronuncia fosse cruciale nell’educazione dei cantanti già nel Settecento.
Si indagano le metodologie di insegnamento della fonetica e della prosodia nella storia della glottodidattica, i fattori biologici e psico-sociali determinanti nell’apprendimento di una L2/LS e le principali difficoltà linguistiche incontrate dai discenti stranieri che si accingono ad apprendere la lingua italiana.
Si presentano i dati di una ricerca condotta su dieci istituzioni musicali tra i quali il Conservatorio di Milano, la Juilliard School of Music di New York e la Washington State University di Seattle. Si analizzano le metodologie di insegnamento e i manuali adottati e si espongono i dati emersi da un questionario rivolto ai docenti e ai discenti delle suddette scuole.
Si procede esponendo un sillabo ideato per i cantanti che permetta uno studio più proficuo della lingua e della dizione italiana.The research investigates the teaching procedures of Italian language and diction to international opera singers. After a brief digression on the lyric opera, we analyze the figure of librettista and in particular of Lorenzo Da Ponte, a forerunner of the Italian language and culture teaching. An examination of the first singing courses shows how teaching a impeccable pronunciation was already crucial in the XVIII century. The phonetics and prosody teaching procedures in the history of glottodidactics are then examined, as well as the biological and psycho-social factors critical while learning a foreign language and the main linguistic difficulties faced by foreign students approaching the Italian language. We present the data of a survey conducted on ten musical institutions like the Milan Conservatory, the Julliard School of Music of New York and the Washington State University of Seattle. We analyze the teaching procedures and the textbooks adopted and the results of a questionnaire addressed to the teachers and students of these schools. Finally we display a syllabus for international opera singers to profitably approach the Italian language.
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Coutinho, Raquel Avellar. "Formação superior e mercado de trabalho: considerações a partir das perspectivas de egressos do Bacharelado em Música da UFPB." Universidade Federal da Paraíba, 2014. http://tede.biblioteca.ufpb.br:8080/handle/tede/7491.
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This research sought to understand the relationship between the academic higher education of students who obtained the Bachelor of Music degree at the Universidade Federal da Paraiba (UFPB) and their insertion and professional performance in the labor market in the city of Joao Pessoa, through their own perception. Thus, we have develop a qualitative research based on interviews, with ten out of the 21 students who fitted the selection criteria – i.e. instrumentalists who obtained the title of Bachelor of Music between the years of 2010 and 2011, and worked professionally in the city of Joao Pessoa. As an instrument for data collection, semi-structured interviews were conducted in order to recognize the alumni‟s own experience through out the undergraduate course, as well as in the labor market, to identify recurrent social representations in their discourses, and to understand how the University proposed curriculum of the course contributed to labor opportunities in the professional job market. The critical analysis of the reports was done from the perspective of the Social Representations Theory and studies from the Music Education area that showed some relation with the chosen theme and the data collected. In this sense, we discussed how the relation between the students and the music was established and how the social representation of the artist‟s roll can be recognized through the family‟s support (or their lack of support) to the option of being a professional musician. From the data obtained and the bibliographic and documental analysis, we could find the influence of the Conservatory Teaching Model in the course‟s curriculum, although it had been adapted. Besides, we make some considerations about the student‟s perceptions and expectations on their education, reflecting about possible innovations and adaptations for the curriculum. The dichotomy between being a musician against being a professor is also emphasized, as teaching appeared on the reports as a professional option for the bachelors as, in fact, these two possibilities appear as complementary activities. Thus, we conclude that the course curriculum as propose by the University is not properly articulated to the job market reality, notably in relation to the labor market in city of Joao Pessoa.
A presente pesquisa buscou compreender a relação entre a formação superior de egressos do curso de Bacharelado em Música da Universidade Federal da Paraíba (UFPB) e sua inserção e atuação profissional no mercado de trabalho da cidade de João Pessoa, a partir das percepções dos mesmos. Para tanto, realizamos uma pesquisa qualitativa com base em entrevistas, com dez dentre os 21 alunos que se adequavam aos critérios de seleção – instrumentistas egressos do curso de Bacharelado nos anos de 2010 e 2011, que atuavam profissionalmente na cidade de João Pessoa. Como instrumento de coleta de dados, foram realizadas entrevistas semi-estruturadas, buscando conhecer a experiência dos egressos no curso e no mercado de trabalho, identificar as representações sociais recorrentes nos discursos e compreender como o currículo proposto pelo curso contribuiu para o ingresso do profissional no mercado de trabalho. A análise crítica dos relatos foi realizada sob o olhar da Teoria das Representações Sociais e de estudos da área de Educação Musical e áreas afins que mostraram ter relação com o tema escolhido e os dados coletados. Neste sentido, discutimos como foi estabelecida a relação dos egressos com a música e como a representação do papel social do artista pode ser reconhecida no apoio familiar (ou a falta dele) à opção pela profissão de músico. A partir dos dados obtidos e da análise bibliográfica e documental, pudemos constatar a influência do Modelo Conservatorial de Ensino no currículo do curso em questão, embora tenha sofrido adaptações. Além disso, tecemos considerações acerca das percepções e expectativas dos egressos sobre a sua formação, refletindo sobre possíveis inovações e adaptações no currículo. A dicotomia músico versus professor também foi enfatizada, já que a docência apareceu nos discursos como uma opção profissional do bacharel e, na prática, essas duas possibilidades de atuação aparecem como atividades complementares. Concluímos, assim, que a proposta do curso não está devidamente articulada à realidade do mercado de trabalho atual, especialmente em relação à cidade de João Pessoa.
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Piccoli, Lucas Ferreira. "Aprendizagem musical e pr?tica individual: um estudo de caso e o esbo?o de um modelo pr?prio de engajamento pessoal." PROGRAMA DE P?S-GRADUA??O EM M?SICA, 2016. https://repositorio.ufrn.br/jspui/handle/123456789/22645.
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Made available in DSpace on 2017-04-12T20:46:45Z (GMT). No. of bitstreams: 1 LucasFerreiraPiccoli_DISSERT.pdf: 560519 bytes, checksum: b01c59a0549963ddb0e82b8d97451b78 (MD5) Previous issue date: 2016-12-16
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior (CAPES)
O presente trabalho investiga a pr?tica individual enquanto contexto tradicional de aprendizagem da m?sica de concerto, buscando compreender sobretudo as possibilidades de engajamento pessoal dos indiv?duos nos seus pr?prios processos de desenvolvimento. O percurso investigativo iniciou-se por meio de uma pesquisa explorat?ria sobre o tema, intensificada no estudo cr?tico dos conceitos de ensino conservatorial, pr?tica deliberada e autorregula??o da aprendizagem, e com base em autores como Ericsson, Krampe e Tesch- Romer (1993), Bandura (1989; 1999; 2012) e Zimmerman (1989; 2002). Em sequ?ncia, passou-se ? realiza??o de um estudo de caso com os alunos violonistas do curso de Bacharelado em M?sica da UFRN, que culminou em uma an?lise dos h?bitos de pr?tica dos discentes ? luz da literatura. Tendo em vista o car?ter te?rico-pr?tico da presente pesquisa, e de modo a sistematizar as intera??es promovidas entre as diferentes dimens?es investigativas utilizadas no percurso, empreendeu-se tamb?m um prot?tipo de modelo de engajamento pessoal na pr?tica individual, o Protomodelo. Enquanto resultados da pesquisa, figuram as an?lises acerca das din?micas de aprendizagem dos alunos investigados, sobretudo quanto ? presen?a de comportamentos relativos aos conceitos abordados, e a conclus?o de que o engajamento pessoal dos indiv?duos na aprendizagem pode atuar de forma positiva frente as debilidades do modelo conservatorial.
This work investigates musical learning in the context of individual practice session, and seeks to elucidate the possibilities of personal engagement by students in their own development processes. The present research started through an exploratory research about the topic, that was intensified in a critical study of conservatory system, deliberate practice and self-regulation of learning concepts, and based on the works of Ericsson, Krampe e Tesch-Romer (1993), Bandura (1989; 1999; 2012) and Zimmerman (1989; 2002). In sequence, it was performed a case study with undergraduate guitar students of UFRN university, that culminated in an analysis of students' practice habits. Since this research has a theoretical and practical approach, the way chosen to illustrate this interaction was the construction of a personal engagement in the individual practice prototype model: the Protomodelo. As results of this research, figures the analysis of students' learning habits, mostly of the behaviors related with studied concepts, as well as the conclusion that personal engagement in musical learning can act in a positive way to minimize some debilities of conservatory system.
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Navon, Joshua. "The Making of Modern Musical Expertise: German Conservatories and Music Education, 1843-1933." Thesis, 2019. https://doi.org/10.7916/d8-k9g9-c050.
Full textAbstract:
Music conservatories are central institutions to the field of classical music. In them, aspiring professional hone their craft, renowned musicians pass on their expertise to upcoming generations, and notions of exactly who and what is considered “musical” are forged and disseminated. However, the apparently self-evident place of conservatories in modern cultures of classical music obscures their historical novelty—it is only since the latter nineteenth century that these institutions have become a pervasive force in classical music pedagogy and culture.
This dissertation explores this revolution of institutionalized training in classical music by analyzing the history of German music conservatories over a roughly ninety-year period, from the founding of the Leipzig conservatory in 1843 to the Nazi takeover of power in 1933. Combining archival research, extant musicological scholarship, and theoretical and methodological approaches developed in a variety of social scientific and humanities disciplines, each chapter traces and historicizes a key development in modern music-pedagogical thought and practice: 1) the crystallization of a set of pedagogies designed to produce competency in the performance of canonical musical works; 2) the development of music education as a discipline; 3) the emergence of ear training; 4) the rise of Émile Jaques-Dalcroze’s method of rhythmic gymnastics.
Throughout, I show that conservatories not only served to reproduce specific musical practices (such as the faithful performing of musical works, or Werktreue), but that they also functioned as incubators for new ways of thinking about human musicality and the pedagogies that would produce it. In particular, the latter chapters outline central features of what I call the “psychotechnical turn” in music education in the decades surrounding 1900, arguing that this resulted from growing connections between conservatory pedagogy and the psychological sciences.
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Gaines, Jason Michael. "Music Technology and the Conservatory Curriculum." Thesis, 2018. https://doi.org/10.7916/D8NP3MW2.
Full textAbstract:
Music conservatories play an important role in the musical development of musicians. Students often choose to attend a conservatory because they are seeking to focus their efforts on honing their skills as performers, composers, or both. The use of music technology has increased in recent years as hardware and software has become more user friendly, resulting in the incorporation of music technology into the professional practice of musicians. While the innovation of technology has been swift, the adoption of music technology by educators in music conservatories has been slow when compared to those in other institutions of higher education. With each passing year, conservatories are graduating an increasing number of musicians who are met with greater expectations than those of previous generations. This multi-site case study investigated the perceived role of technology in the conservatory curriculum as reported by conservatory students and faculty. Further, this study examined the supports that are in place, for both students and faculty, in regard to integrating technology into current and future curricula. Research has been conducted to investigate the integration of technology into curricula; however, the research tends to focus on challenges for technology integration rather than technology as a tool for supporting sound pedagogical practice.
Findings from this study indicate that students wish to see an increased presence of music technology in the curriculum as they hone their skills during their studies. Further, increased access to music technology, as well as support on using music technology in effective and engaging ways during instruction was identified. Conservatories can benefit from additional staff positions to support the use of music technology, frequent and relevant professional development for faculty, additional computer laboratories for student and faculty use, and increased communication between students, faculty and administration on the use of music technology throughout the conservatory. The implications of the findings and recommendations have the potential to positively impact the experience of students in conservatory communities. Future avenues of research might investigate the relevance of conservatory pedagogy in modern music performance and composition, pathways to support consistent and relevant professional development, and necessary supports to increase access to music technology for faculty and students.
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Dumlavwalla, Diana Teresa. "Approaching the Examiner's Chair: Chronicling the Experiences of Piano Examiner Apprentices for the Royal Conservatory of Music." Thesis, 2011. http://hdl.handle.net/1807/30055.
Full textAbstract:
Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students.
This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors.
These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.
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(9781769), Ian Bofinger, and G. Whateley (9881903). "The virtual conservatorium." Thesis, 2004. https://figshare.com/articles/thesis/The_virtual_conservatorium/13437776.
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The problem for this project is the solution to the question, 'How can a conservatorium in a geographically isolated area with a relatively small catchment area survive and thrive in the 2000's?' This project chronicles the story of a three year strategic plan that has taken on this challenge. In order to do this it has been appropriate to discuss global conditions that are the driving forces of economies and the education systems within them. In adittion we show how these 'macro-conditions' affect the Australian Unviersity system and especially conservatoria. Having contextualized the project, we then move to an exploration of the main facilitating conditions that provided an orrprtunity to diversity the Central Queensland Conservatorium of Music in ways that better fit the international and national pressures that beset university based conservatoria. The Virtual Conservatorium, we then argue, provides a workable alternative to current conservatorium practice and at the same time provides a cost effective, contemporary, technology friendly paradigm that ensures ongoing quality and delivery effectiveness.
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O'Connor, Julie. "Exploring the self-concept and identity of Sydney Conservatorium students with and without absolute pitch." Thesis, 2007. http://hdl.handle.net/2123/1417.
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Absolute Pitch (AP) is the ability to identify pitches without external references (Parncutt & Levitin, 2001). It is a rare ability that is more prevalent among musicians. This qualitative study explored the perceptions of Sydney Conservatorium of Music students through interviews, focusing on the value of AP possession, and implications for music self-concept. The study involved 12 Conservatorium University and High School students; six participants were self-nominated absolute pitch possessors, and the remaining six were categorised as relative pitch (RP) users. Through discussions of the value, prevalence and practicality of AP, the data suggested that AP is a highly desirable ability among Conservatorium students, and particularly valued by those who possess it. The results also suggested that RP students tend to have less positive self-concepts in aural perception and music theory, while having more positive self-concepts in other musical arenas. The majority of the AP participants had a desire to become a solo performer, and the RP participants’ tended to plan broader musical goals such as combining teaching and ensemble performance. These results suggested that the possession of AP has had a significant effect on the identity of these individuals.
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Fraser, Fiona. "A City for Music Lovers: Creating a classical music culture in Sydney 1889-1939." Phd thesis, 2018. http://hdl.handle.net/1885/155784.
Full textAbstract:
Through the efforts of thousands of dedicated men and women
classical music obtained a privileged position in Sydney in the
early twentieth century. This neglected area of Australia’s
cultural history was part of a transnational phenomenon which has
divided historians and musicologists. Does it demonstrate the
imposition of elite culture from above or did it emerge from the
combined energies of those who believed that classical music
might provide genuine benefits for the whole community?
Contributing to a body of literature on the social history of
classical music in Europe and the United States, this thesis
incorporates a Bourdieuian analysis examining the creation of
classical music in Sydney from the perspective of key
stakeholders: entertainment entrepreneurs, musical institutions,
performers, composers and audience. It focuses on the interaction
between these stakeholders to consider the field of classical
music as a dynamic, constantly evolving arena of interaction
where the personal and political intersect. It takes into account
social, economic, political and technological developments as
Australia established itself as an independent nation grappling
with a rapidly expanding population, modernity and the rise of a
politically engaged working class.
Such an approach brings into question previous accounts of the
development on classical music in Australia which have focused on
the role of the government owned Australian Broadcasting
Commission (ABC) rather than the efforts of multiple
stakeholders, community groups and committed individuals. It
provides a new perspective that demonstrates the complex and
iterative nature of social change and suggests ways in which our
musical choices have come to define who we are.
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(9809996), Derrin Kerr. "Exploring an industry-based jazz education performance training program: A case study of a partnership between the Central Queensland Conservatorium of Music and Hamilton Island Enterprises." Thesis, 2008. https://figshare.com/articles/thesis/Exploring_an_industry-based_jazz_education_performance_training_program_A_case_study_of_a_partnership_between_the_Central_Queensland_Conservatorium_of_Music_and_Hamilton_Island_Enterprises/13432499.
Full textAbstract:
Study examines the impact of the CQCM/HIE partnership on student learning - a partnership which involves Bachelor of Music (jazz & popular) students visiting Hamilton Island four to six times a year for daily performances in the island's many bars, restaurants and entertainment areas. This provides participating students with off-campus industry-based performance experience.