Academic literature on the topic 'Degree Discipline: Music'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Contents
Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Degree Discipline: Music.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Journal articles on the topic "Degree Discipline: Music"
1
Carlson, Emily, and Ian Cross. "Reopening the Conversation Between Music Psychology and Music Therapy." Music Perception 39, no. 2 (December 1, 2021): 181–201. http://dx.doi.org/10.1525/mp.2021.39.2.181.
Full textAbstract:
Although the fields of music psychology and music therapy share many common interests, research collaboration between the two fields is still somewhat rare. Previous work has identified that disciplinary identities and attitudes towards those in other disciplines are challenges to effective interdisciplinary research. The current study explores such attitudes in music therapy and music psychology. A sample of 123 music therapists and music psychologists answered an online survey regarding their attitudes towards potential interdisciplinary work between the two fields. Analysis of results suggested that participants’ judgements of the attitudes of members of the other discipline were not always accurate. Music therapists indicated a high degree of interest in interdisciplinary research, although in free text answers, both music psychologists and music therapists frequently characterized music therapists as disinterested in science. Music therapists reported seeing significantly greater relevance of music psychology to their own work than did music psychologists of music therapists. Participants’ attitudes were modestly related to their reported personality traits and held values. Results overall indicated interest in, and positive expectations of, interdisciplinary attitudes in both groups, and should be explored in future research.
2
Sierzputowski, Konrad. "Ciała dyscyplinowane czy podmioty transgresywne? Somatoestetyka fikcyjnych zespołów death- i blackmetalowych." Annales Universitatis Paedagogicae Cracoviensis. Studia de Cultura 3, no. 10 (2018): 34–46. http://dx.doi.org/10.24917/20837275.10.3.3.
Full textAbstract:
Disciplined bodies or transgressive subjects. Somatoesthetics of fictional death and black metal bands The performances of metal music gropus kind be described as a spectacles of a high degree of symbolic convention, which is paradoxically intended to cause the effect of constant authenticity among spectators and listeners. However, it is diffucult to find any kind of material that shows behind-the-scenes existance of those gropus, we can find critical reflection on the phenomenon of behind-the-scenes discipline in meta-music texts, such as comics and animations devoted to the biographies of fictional music groups. These texts transgress the problem of the masochistic spectacle of the body fictional authenticity of the musical groups. Examples of such texts are the Japanese animation Detroit Metal City (2008) and the Polish comic Będziesz smażyć się w Piekle by Krzysztof “Prosiak” Owedyk (2016).
3
Harrison, Scott, and Catherine Grant. "Chasing a moving target: perceptions of work readiness and graduate capabilities in music higher research degree students." British Journal of Music Education 33, no. 2 (January 11, 2016): 205–18. http://dx.doi.org/10.1017/s0265051715000261.
Full textAbstract:
Recent efforts to increase workplace readiness in university students have largely centred on undergraduates, with comparatively few strategies or studies focusing on higher research degree candidates. In the discipline of music, a wide diversity of possible career paths combined with rapidly changing career opportunities makes workplace readiness a moving target. Drawing on qualitative and quantitative data from semi-structured interviews, dialogue forums, an online survey and pre-existing literature, this paper explores perceptions of higher degree research (HDR) music students about their work readiness, and critically examines these perceptions against graduate capabilities frameworks. It recommends ways to better prepare HDR music students for life beyond their studies, advocating in particular a more collaborative model of research education than is currently the norm. The findings may help improve the student experience and graduate outcomes among HDR students, both in music and more broadly.
4
Levack Drever, John. "Soundscape composition: the convergence of ethnography and acousmatic music." Organised Sound 7, no. 1 (April 2002): 21–27. http://dx.doi.org/10.1017/s1355771802001048.
Full textAbstract:
Despite roots in acoustic ecology and soundscape studies, the practice and study of soundscape composition is often grouped with, or has grown out of the acousmatic music tradition. This can be observed in the positioning of soundscape compositions juxtaposed with acousmatic music compositions in concert programmes, CD compilations and university syllabuses. Not only does this positioning inform how soundscape composition is listened to, but also how it is produced, sonically and philosophically. If the making and presenting of representations of environmental sound is of fundamental concern to the soundscape artist, then it must be addressed. As this methodological issue is outside of previous musical concerns, to this degree, we must look to other disciplines that are primarily engaged with the making of representation, and that have thoroughly questioned what it is to make and present representations in the world today. One such discipline is ethnography. After briefly charting the genesis of soundscape composition and its underlying principles and motivations, the rest of the paper will present and develop one perspective, that of considering soundscape composition as ethnography.
5
BRUCHER, KATHERINE. "Assembly Lines and Contra Dance Lines: The Ford Motor Company Music Department and Leisure Reform." Journal of the Society for American Music 10, no. 4 (October 27, 2016): 470–95. http://dx.doi.org/10.1017/s1752196316000365.
Full textAbstract:
AbstractThe automaker Henry Ford founded the Ford Motor Company Music Department in 1924 with the goal of reviving what he called “old-fashioned dancing and early American music.” Ford's interest in the Anglo-American social dances of his youth quickly grew from dances hosted by the Fords for company executives to a nationwide dance education program. This article traces the history of the Music Department's dance education program and examines the parallels between it and the company's earlier efforts in social engineering—namely the Ford Profit Sharing Plan (better known as the “Five Dollar Day”) and the Ford English School. The Music Department's activities offer an opportunity to explore how industry sought to shape music and dance through Americanization efforts and leisure reform as Detroit rapidly urbanized during the first decades of the twentieth century. Supporters of Ford's revival viewed the restrained musical accompaniment and dance movements as an antidote to jazz music and dances, but more importantly, music and dance served as an object lesson in the physical discipline necessary for assembly line labor. Ford's dance education campaign reveals the degree to which industry was once entwined with leisure reform in southeast Michigan.
6
Kolev, Vasil, and Asya Ivanova. "ART MANAGEMENT: A NEW DISCIPLINE ENTERING THE CULTURAL AND ACADEMIC LIFE IN PLOVDIV." CBU International Conference Proceedings 5 (September 23, 2017): 666–68. http://dx.doi.org/10.12955/cbup.v5.1004.
Full textAbstract:
This paper presents the conditions of economic and political changes within the 90s in Bulgaria and the necessity of a new way of thinking at managing cultural institutions in the conditions of the market economy. As a response to that problem it was created the first of its kind in Bulgaria master’s degree program „Art management.“For that purpose a brief overview of the formal models of funding the arts worldwide are presented along with the characteristics at regional levels which led to the creation of the new educational programme.The main disciplines studied in the educational module aiming to develop a new set of skills among artists are listed with a brief introduction of their scope. A local survey conducted at the Academy of Music, Dance and Fine Arts – Plovdiv, analyzing the interest of the first of its kind in Bulgaria master’s degree program „Art management“ is presented. The initial result of the evolution of the educational programme based on the number of students enrolled per year are the motivation for the start of a lager research project “ÄRT” funded by the SRF, Ministry of Education and Science.
7
Kelly, Steven N. "Public School Supervising Teachers’ Perceptions of Skills and Behaviors Necessary in the Development of Effective Music Student Teachers." Bulletin of the Council for Research in Music Education, no. 185 (July 1, 2010): 21–32. http://dx.doi.org/10.2307/41110363.
Full textAbstract:
Abstract The purpose of this study was to investigate (a) What specific skills and behaviors are considered most important by public school supervising teachers in the development of effective music student teachers?; and (b) Are there differences between instrumental (band/strings) and choral/elementary music supervising teachers on those skills and behaviors? A survey was constructed, consisting of thirty-five items and representing a variety of teacher skills and behaviors. The respondents, public school music teachers who were experienced in supervising student teachers (N = 112), rated each survey item from 1 (not very important) to 5 (very important) regarding the degree each skill and behavior was considered important in the development of music student teachers. The findings showed the highest rated traits may be considered more social in nature and are frequently associated with an individuals personality or personal belief (e.g., honest and ethical). Traits receiving the lowest ratings did not require direct use of musical skills or knowledge (e.g., playing the piano; provide accompaniment), or instructional techniques (e.g., dealing effectively with student discipline). The findings suggest that music student teachers should be aware of high expectations placed on personal characteristics by supervising teachers during the student teaching experience.
8
GRIGORYEVA, V. V. "ЗМІСТ ДИРИГЕНТСЬКО-ХОРОВОЇ ПІДГОТОВКИ МАЙБУТНІХ УЧИТЕЛІВ МУЗИЧНОГО МИСТЕЦТВА У ПЕДАГОГІЧНИХ ЗАКЛАДАХ ВИЩОЇ ОСВІТИ." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 4, 2021): 211–17. http://dx.doi.org/10.31494/2412-9208-2021-1-2-211-217.
Full textAbstract:
The article considers the problem of choral-conducting training of future music art teachers and its place in the system of professional training in pedagogical institutions of higher education. It is noted that the discipline «Choral Conducting», which is part of the Workshop of choral-conducting training is included in the professional unit of the professional system of training specialists, specialty 014 Secondary Education (Music). It includes knowledge, skills and abilities of conducting and choir organization. The effectiveness of the individual form of conducting training is substantiated, which is due to the specifics of choral conducting as a performing art and contributes to the formation of each student’s professiogram. The author highlights the interdisciplinary links of the course «Choral Conducting» with other disciplines that provide a complex professional training of the student, as well as strengthen his/her professional and pedagogical orientation. The article analyzes the theoretical views and pedagogical principles of representatives of Ukrainian conducting and choral schools, which created unique scientific and pedagogical systems of a conductor’s formation. Based on the main provisions of these systems, the author developed the content of choral-conducting training of future music art teachers in pedagogical institutions of higher education, taking into account the regional component (Zaporizhzhia region, Northern Azov), which is represented by works of relevant composers. The article presents the gradual formation of a music art teacher as a specialist choirmaster. The detailed content of choral-conducting training of bachelor's degree students is given. The basic skills that are complicated and improved in the process of conducting are highlighted. The role of the regional component in the content of educational programs and its assistance in preserving the cultural traditions of the region is determined. Key words: future music art teachers, choral-conducting training, conducting activity, choir.
9
McPhail, Graham. "Informal and formal knowledge: The curriculum conception of two rock graduates." British Journal of Music Education 30, no. 1 (July 2, 2012): 43–57. http://dx.doi.org/10.1017/s0265051712000228.
Full textAbstract:
Informal learning has become a prominent theme in music education literature in recent times. Many writers have called for a new emphasis on informal knowledge and pedagogy as the way forward for music education. The position taken in this paper is that a central issue for music education is the accommodation of a tension between types of knowledge and the ways of knowing strongly associated with popular and classical of music – socially acquired informal knowledge and socially developed but formally acquired disciplinary knowledge. Approaches to curriculum conception and realisation observed in a recent series of case studies in New Zealand secondary schools suggest that a key factor in student engagement is the degree to which teachers can create links between informal and formal knowledge so that students’ understanding and conceptual abilities can be extended across these knowledge boundaries. The teaching approaches of two recent graduates in rock music are discussed to support the social realist argument that a ‘progressive’ approach to curriculum involves creating links between informal and formal knowledge rather than replacing one with the other or dissolving the boundaries between them. Through seeing the two types of knowledge as necessarily interconnected within educational contexts, the epistemic integrity of classroom music is maintained. In this way students are able to recognise themselves and their aspirations while also recognising the potential and power of the foundational knowledge of the discipline.
10
Weller, Philip. "Frames and Images: Locating Music in Cultural Histories of the Middle Ages." Journal of the American Musicological Society 50, no. 1 (1997): 7–54. http://dx.doi.org/10.2307/832062.
Full textAbstract:
In practicing the complex discipline of history, scholars habitually and necessarily build on previous knowledge that has frequently crystallized into received images of the past-whether of entire cultures, individual historical figures, particular cultural practices, or discrete seminal works or artifacts. The starting hypothesis for the present study is that the historical images we seek to elaborate are unavoidably preconditioned by the conceptual-epistemological frames and perspectives within which they are located and viewed. Indeed, the search for raw material and its subsequent interpretation both depend on the modeling of the entire historical-analytical project. This essay offers a critique of the often hidden assumptions that underlie and inform our models of cultural history in general and medieval history in particular-assumptions that have to a considerable degree shaped our reception and interpretation of medieval music, whether considered in itself or as an integral part of social activity. The debate is conducted in dialogue with Christopher Page's Discarding Images (Oxford: Clarendon Press, 1993), a provocative study about the place of music in the culture of the later Middle Ages.
Books on the topic "Degree Discipline: Music"
1
Willingham, Lee, and Glen Carruthers. Community Music in Higher Education. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.9.
Full textAbstract:
The establishment of community music courses and degree programs in universities gives rise to discourse about the fundamental principles of community music. Can community music flourish in the complexity of academia, where disciplines are regulated, researched, and examined systematically? This chapter will argue that community music principles are synergistic with higher education goals, and, in fact, traditional music education has much to learn and gain from community music practices. How can schools of music be more civic minded, community friendly, and enhance the cultural life of the regions they serve? How can rigour exist (artistic and scholarly) in a culture of empathy, inclusivity, and hospitality where nonformal pedagogies are practiced, and where intergenerational and lifelong learning—along with activism, health, and wholeness—are foundational? These questions are addressed and measured against a tradition where audition standards and progression pathways are becoming increasingly multivalent.
2
Anno, Mariko. Piercing the Structure of Tradition. Cornell University Press, 2020. http://dx.doi.org/10.7591/cornell/9781939161079.001.0001.
Full textAbstract:
What does freedom sound like in the context of traditional Japanese theater? Where is the space for innovation, and where can this kind of innovation be located in the rigid instrumentation of the Noh drama? This book investigates flute performance as a space to explore the relationship between tradition and innovation. This first English-language monograph traces the characteristics of the Noh flute (nohkan), its music, and transmission methods and considers the instrument's potential for development in the modern world. The book examines the musical structure and nohkan melodic patterns of five traditional Noh plays and assesses the degree to which Issō School nohkan players maintain to this day the continuity of their musical traditions in three contemporary Noh plays influenced by William Butler Yeats. The book's ethnographic approach draws on interviews with performers and case studies, as well as the author's personal reflection as a nohkan performer and disciple under the tutelage of Noh masters. The book argues that traditions of musical style and usage remain influential in shaping contemporary Noh composition and performance practice, and the existing freedom within fixed patterns can be understood through a firm foundation in Noh tradition.
Book chapters on the topic "Degree Discipline: Music"
1
Alexander, Jonathan J. G. "The Study of Medieval Art 2: 1950–2000." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0029.
Full textAbstract:
This chapter examines the history of the study of medieval art in Great Britain during the period from 1950 to 2000. The British Academy created a separate section for History of Art and Music, but in many quarters art history was still thought of as the province of the amateur art-lover rather than an object of serious study. Only the Courtland Institute continued to be the only institution in England offering undergraduate and graduate degrees. The situation changed in the 1960s and 1970s when all branches of the discipline experienced major growth in the areas of conservation studies and art-book publishing.
2
Manning, Jane. "SIMON EMMERSON (b. 1950)Time Past IV (1984)." In Vocal Repertoire for the Twenty-First Century, Volume 1, 90–93. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780199391028.003.0026.
Full textAbstract:
This chapter examines Simon Emmerson’s Time Past IV, a hauntingly beautiful work which is highly accessible thanks to its consistent tonality and economical construction. This piece is based entirely on a single hexachord and its transposition. The vocal part consists of mellifluous syllabic fragments taken from Shakespeare’s well-loved Sonnet XXX. Space-time notation is employed, affording a degree of freedom within the disciplined structure. The music moves along quite naturally, and it is only in the more frenetically active passages that timing could go awry. The chapter illustrates how Emmerson is punctilious in every detail. The work describes a logical arc, from its soft, rapt beginning, through a period of manic activity, and back to a poignant, contemplative ending. The text is used imaginatively: there are speech effects such as whispering, and diphthongs are stretched out, mutating gradually through their components. The pre-recorded electronic accompaniment provides a multicoloured palette of vocal attacks and timbres, with babbling syllabic repetitions that overlap and constantly transform themselves.
3
Willetts, David. "Vocational Higher Education." In A University Education. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198767268.003.0016.
Full textAbstract:
A beautiful large stained-glass window dominates the end of the Great Hall of Birmingham University. My great-grandfather was one of the glaziers who made it—my family were Birmingham artisans, craftsmen, and engineers. His son, my grandfather, remembered being taken to the opening of Birmingham University in 1902—Joe Chamberlain, the founder of the university, believed that the workers who had built it should be invited, not just the academics. From a distance it looks like the stained-glass window in an ancient cathedral with figures of saints, but close up you see the radicalism of Joe Chamberlain’s vision. It is dedicated to the arts and sciences. Instead of saints and bishops the figures represent disciplines like geometry or music, but alongside them, equally prominent, are contemporary trades: there is an electroplater, a rather Michelangelesque miner, and a demure bookkeeper too. It is a celebration of the range of trades and professions of the early twentieth century, ‘as practised in the university and in the City’, said the local paper. England’s first university in one of its great bustling industrial cities was claiming a new role for the university based on its civic commitment. This great window embodies a very different idea of the university from the Oxbridge tradition. It is a vigorous statement in an argument that was raging within Government at the very time that Chamberlain was planning his new university. The question was whether public funds should go to help pay for higher education courses outside Oxbridge on a systematic basis and if so which courses at which institutions. (At this point what would become our Redbrick universities were typically university colleges teaching for the external degree of the University of London and funded locally, though with occasional public grants.) The question came to the Chancellor of the Exchequer in 1895, who replied: ‘As an old Oxford man myself I must confess to a feeling, which you may call a prejudice, that University education, in the full sense of the term, can hardly be obtained except at our old Universities.’ The Treasury consulted Oxford and Cambridge on what they should fund.