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Dissertations / Theses on the topic 'Instrumental music'

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Published: 4 June 2021
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1

Harvey, James. "Elder Music, Instrumental Music Performance and Affirmative Aging." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/366040.

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Elder Music, Instrumental Music Performance and Affirmative Aging is a Practice-led research project in Community Music performance. A phenomenological, autoethnographic critique of lived musical experience by a senior, former professional musician returning to an accomplished instrumental music performance practice after a playing hiatus of twenty-four years. Research that arose in response to this personal aesthetic process resulted in a performance-led community music investigation, detailing the journey of a musician returning to active performance, without claiming to be either unique or typical. It is both a chronicle articulating the incidence and benefice of later life music making and a report on how this experiential and artistic process involves many mature musicians. Qualitative artistic research revealing a context to the breadth of active involvement and commitment of older musicians, who are not only quantitatively significant and noteworthy in their numbers and musical influence, but in also reflecting the positive benefits of community music making within our society in promoting personal and collective wellness, vitality and social bonding through collegial expressions of abstract musical truth and beauty.
Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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2

Dodd, Rose. "Electroacoustic and instrumental music : composing knowingly." Thesis, University of Huddersfield, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431522.

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3

Ishisaki, Bruno Yukio Meireles 1983. "A transmutação na escrita instrumental e vocal." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285226.

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Orientador: Denise Hortência Lopes Garcia
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Neste trabalho apresentamos a ideia da transmutação aplicada à composição musical. Técnicas oriundas da música eletroacústica como o morphing (tanto em âmbito melódico como timbrístico), interpolação, crossfading e a manipulação progressiva de elementos são estudados a partir de um olhar tecnomórfico e são utilizados de forma integrada como ferramentas composicionais para a realização de transmutações entre estruturas musicais. O primeiro capítulo trata da transmutação nas questões terminológica e conceitual. O segundo capítulo apresenta as técnicas citadas anteriormente com exemplos retirados do repertório do século XX. O terceiro capítulo versa sobre a aplicação composicional das técnicas expostas no capítulo anterior. No quarto capítulo obras compostas pelo autor são descritas para demonstrar o uso das ferramentas composicionais estudadas nesta dissertação
Abstract: In this work, we present the idea of transmutation applied to musical composition. Techniques originated from electroacoustic music like morphing (both melodic and timbral), interpolation, crossfading and progressive manipulation of elements are studied from a tecnomorphic point of view and are used together as compositional tools for performing transmutations between musical structures. The first chapter deals with the transmutation in the terminological and conceptual issues. The second chapter presents the techniques mentioned above with examples drawn from the repertoire of the twentieth century. The third chapter deals with the application of compositional techniques explained in the previous chapter. In the fourth chapter, works composed by the author are described in order to demonstrate the usage of the compositional tools studied in this dissertation
Mestrado
Processos Criativos
Mestre em Música
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4

Traill, John Peter. "The study of instrumental combinations." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670179.

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5

Sousa, Gary Donn. "Musical conducting emblems : an investigation of the use of specific conducting gestures by instrumental conductors and their interpretation by instrumental performers." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1217257892.

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6

Heikinheimo, Tapani. "Intensity of interaction in instrumental music lessons /." Helsinki : Sibelius-Akatemia, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018723156&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.

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7

Dick, Terence. "Functional music and consumer culture (instrumental version)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/MQ30210.pdf.

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8

Mitchum, Page Polsladek Williams Lindsey R. "Student motivation to participate in instrumental music." Diss., UMK access, 2007.

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Thesis (M.M.)--Conservatory of Music and Dance--Kansas City, 2007.
"A thesis in Music Education." Advisor: Lindsey R. Williams. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed May 23, 2008. Includes bibliographical references (leaves 110-114). Online version of the print edition.
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9

Croukamp, Carmel. "Borrowing and action in Mozart's instrumental music." Thesis, University of Oxford, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.543695.

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10

Stell, Evelyn Florence. "Sources of Scottish instrumental music 1603-1707." Thesis, University of Glasgow, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.323238.

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11

Petrich, Macie. "Vocal Health Survey of Instrumental Music Educators." Miami University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=miami1588015468956836.

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12

Queiroz, Flavio Jose Gomes de. "Caminhos da música instrumental em Salvador." reponame:Repositório Institucional da UFBA, 2010. http://www.repositorio.ufba.br/ri/handle/ri/9102.

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O presente trabalho é uma etnografia da Música Instrumental na cidade do Salvador, Bahia, Brasil. Após discutir possíveis definições do que seja Música Instrumental, apresenta uma retrospectiva da mesma no Brasil. Mostra o seu desenvolvimento historiográfico ao longo de quase trinta anos, as diversas influências sofridas e o relacionamento dos seus músicos com outros setores da vida sócio-cultural da cidade. Além disso, aborda a questão do autoaprendizado musical à luz das idéias de Ivan Illich e Jacques Rancière.
Salvador
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13

Moss, Bruce Burbank. "Differential approaches to rehearsing and conducting an instrumental ensemble." Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225994055.

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14

Byrn, James R. "An audiation centered music curriculum." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/683.

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15

Barton, Georgina. "The influence of culture on instrumental music teaching: A Participant-Observation case study of Karnatic and Queensland Instrumental music teachers in context." Thesis, Queensland University of Technology, 2003. https://eprints.qut.edu.au/15859/1/Georgina_Barton_Thesis.pdf.

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This thesis aimed to investigate the unique relationship that exists between music and culture. More specifically, the purpose of the research was to determine to what extent culture is reflected in music teaching and learning. Understanding the effect that culture has on music knowledge transmission processes will assist in developing a framework for current music education practices to address the cultural diversity that is present in contemporary teaching and learning environments. An exploration of how music teachers teach, and how the cultural and social surrounds influence these practices in various contexts provided important information in developing such a framework. As such, a participant observation case study of ten music teachers who taught either the South Indian music tradition known as Karnatic music in Tamil Nadu, India, or Queensland, Australia, or who taught predominantly Western music in the Queensland instrumental music context, was carried out. Through a comparative study of these teachers it was observed that there were more similarities than differences in the methods of teaching used by the teachers. Both aural/oral and written modes of communication were used in each context albeit at varying levels. It was also discovered that the surrounding cultural rules and rituals, that were practised, significantly influenced the meaning attributed to the music teaching process for each of the teachers. In the main, for teachers of Karnatic music a strong spiritual attachment to both the gods and goddesses associated with the Hindu religion and the teachers' own teacher/guru was evident. Conversely, in the Queensland instrumental music teaching context, powerful economic forces affected the approach that these teachers implemented. It is argued that with an awareness of these findings, music teaching and learning practices may more effectively meet the needs of students (a concern consistently raised in the literature) in the contemporary music education context.
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16

Barton, Georgina. "The influence of culture on instrumental music teaching: A Participant-Observation case study of Karnatic and Queensland Instrumental music teachers in context." Queensland University of Technology, 2003. http://eprints.qut.edu.au/15859/.

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This thesis aimed to investigate the unique relationship that exists between music and culture. More specifically, the purpose of the research was to determine to what extent culture is reflected in music teaching and learning. Understanding the effect that culture has on music knowledge transmission processes will assist in developing a framework for current music education practices to address the cultural diversity that is present in contemporary teaching and learning environments. An exploration of how music teachers teach, and how the cultural and social surrounds influence these practices in various contexts provided important information in developing such a framework. As such, a participant observation case study of ten music teachers who taught either the South Indian music tradition known as Karnatic music in Tamil Nadu, India, or Queensland, Australia, or who taught predominantly Western music in the Queensland instrumental music context, was carried out. Through a comparative study of these teachers it was observed that there were more similarities than differences in the methods of teaching used by the teachers. Both aural/oral and written modes of communication were used in each context albeit at varying levels. It was also discovered that the surrounding cultural rules and rituals, that were practised, significantly influenced the meaning attributed to the music teaching process for each of the teachers. In the main, for teachers of Karnatic music a strong spiritual attachment to both the gods and goddesses associated with the Hindu religion and the teachers' own teacher/guru was evident. Conversely, in the Queensland instrumental music teaching context, powerful economic forces affected the approach that these teachers implemented. It is argued that with an awareness of these findings, music teaching and learning practices may more effectively meet the needs of students (a concern consistently raised in the literature) in the contemporary music education context.
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17

Norrington, Dannyel Marie. "Instrumental music instruction, assessment, and the block schedule /." Available to subscribers only, 2006. http://proquest.umi.com/pqdweb?did=1203567941&sid=15&Fmt=2&clientId=1509&RQT=309&VName=PQD.

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18

Beebe, Marla. "Teaching and Rehearsal Behaviors of Instrumental Music Teachers." Bowling Green State University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1181923968.

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19

Peterson, Amber Dahlen. "Expectations of Automaticity in Beginning Instrumental Music Educators." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1333632062.

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20

Irving, John. "The instrumental music of Thomas Tomkins 1572-1656 /." New York ; London : Garland, 1989. http://catalogue.bnf.fr/ark:/12148/cb35807747q.

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21

Heagy, Loralie. "Instrumental Music and Reading Achievement of First Graders." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5200.

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Prior research studies point to a correlational relationship between music instruction and academic achievement studies, but varying results and confounding factors prevent causality. The purpose of this quasi-experimental study is to test Vygotsky's sociocultural cognitive theory that playing a musical instrument is significantly associated with academic achievement in reading for 1st graders who attend 1 of 2 schools in Alaska. Using Analysis of Covariance, this study investigates the relationship between instrumental music and academic achievement on measures of academic progress (MAP) reading scores of 1st graders (n = 76) who received at least 90 minutes per week of string instruction for 2 consecutive years at a Title I school in comparison with those who attended another Title I school without the string program. Although the results of this study did not show a relationship between instrumental music and academic achievement on MAP reading scores of 1st graders, this study has implications for positive social change. This study contributes to this new field of music for social change and underscores the need from public school administrators and music educators for more research at the local and national level on the benefits of music education as a contributor to academic achievement and student success.
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22

Kunaeva, Teresa V. "Music Masters: Facilitating community music participation by older adults in instrumental ensembles." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/390019.

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This thesis examined music participation and non-participation by older adults in Queensland, Australia. It explored why relatively few older adults take up or resume playing a musical instrument despite the reported benefits of participation in community music ensembles. It also sought to better understand the constraints faced by active, older-adult musicians, and how these constraints could be overcome to fulfil music motivations. Specifically, the thesis sought to address the following research question: How can participation by older adults in community music instrumental ensembles be better facilitated in order to initiate, promote, and sustain appropriate, engaging, and dynamic music-making experiences? Over the past two decades, increasing attention has been given to global ageing, evoking UN and government reports that address this demographic transformation. In 2010, the Queensland Government’s strategy Positively Ageless was followed in 2011 by the Brisbane City Council’s program of activities for seniors Growing Older and Living Dangerously. In this program, sporting or other non-music activities appear to take priority over music activities even though participation in music making has shown to provide cognitive, physical, and social benefits that improve the quality of life of older adults. This mixed methods research began with an online survey that investigated the leisure choices of older adults and the perceived barriers to community music participation. Motivations for and constraints to music learning and engagement were then explored in interviews with older-adult musicians from music ensembles in South East Queensland. Following this was a focus on the intrapersonal, structural, and interpersonal constraints to music participation. The research findings led to the development of the MASTER framework, which recommends that activities are made musical, attractive, social, timely, educational, and regulated. This framework is offered as a way to better facilitate community music activities for older adults in Queensland, but it could be applied to other national and international participatory music settings. With increasing numbers of baby boomers now entering retirement, this research has implications for promoting healthy ageing, and for creating musically vibrant communities not only in Queensland but across geographic boundaries.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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23

Bolton, Rose A. "Incidental music of my mind." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21496.

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Instrumentation: 1*(1.=picc.)-1-2*(2.-Bb+bass cl.)-1 / 1-1-1-0 / 2 perc., 1 keyb. (piano+celesta) / 1-1-1-1-1
The work is approximately 14 minutes long, and consists of six movements which make up a series of musical tableaux, placing greater emphasis on their contrasting characters instead of on gradual and continuous development of material. These movements take their inspiration from activities or situations encountered in everyday life, thus revisiting the old tradition of "character pieces" as encountered, for example, in the music of many composers such as Schumann, Grieg or Mussorgsky.
It is followed by an analysis which examines the harmonic syntax and the language of the work as it relates to the program suggested by the title.
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24

Liu, Cuilan. "Song, Dance, and Instrumental Music in Buddhist Canon Law." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11232.

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Maintaining a balanced approach to music is a shared challenge in all religions. Depending on the context in which music is used in religious activities, it is either praised as a powerful medium to please the divine or condemned as a sensual allurement that hinders spiritual advancement. This study discusses the treatment of vocal and instrumental music as well as the allied category of dance in Buddhism. Specifically, it analyzes the regulations of different forms of musical activities in Buddhist canon law and their subsequent interpretation in Tibet and China.
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Morgan, Christopher. "Instrumental music teaching and learning : a life history approach." Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284626.

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26

Young, Susan. "Young children's spontaneous instrumental music-making in nursery settings." Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368827.

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27

Hunter, Steven K. "The Instrumental Music of Ida Gotkovsky: Finding Intertextual Meaning." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31535/.

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Ida Gotkovsky, a student of Olivier Messiaen and Nadia Boulanger, composed for nearly every instrument, voice, and ensemble. Although Gotkovsky's Concerto for Trombone is a monumental work for the trombone it is rarely performed and recordings are scarce. There is a general lack of scholarly attention to the music of Ida Gotkovsky, however, the technical and aesthetic quality of her music merits further examination. Previous studies of Gotkovsky's music focused on the analysis of individual compositions. However, much more can be learned by examining a work within the context of her general compositional output. Gotkovsky's compositional style includes extensive musical self-borrowing. The goal of this project is to demonstrate melodic and textural similarities and differences within her music to inform performance practice and to establish interest in her music. The context in which Gotkovsky reuses her music is significant and can provide additional musical insight. An informed awareness of her extensive use of self-quotation familiarizes the performer with her compositional language in a variety of musical settings. Such familiarity with her musical style leads to an improved and artistically educated performance.
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Price, Benjamin J. "Resilience Among High Achievers In An Instrumental Music Program." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc103376/.

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Positive adaptations experienced in spite of challenges faced is known as resilience. Comparatively little research has focused on in-depth descriptions regarding how resilience is manifested in children. The purpose of this study was to add to previous research in the identification of characteristics of resilience in students, and to determine the extent to which band membership has aided their resilience in other domains. Data was collected from a random sample of band seniors from the class of 2011 (n = 3) who attended a large high school in the South. Specific research questions were: (1) What characteristics of resilience are present in the talk of participants in a high school instrumental music program? (2) To what extent has this population perceived that membership in band aided their resilience in other domains? A descriptive study design was chosen that used qualitative data. Following data analysis that included category matrices, prominent themes emerged from the participants’ responses. These included self-improvement, forward thinking, optimism, inner drive, increased achievement, determination, development of relationships to peers and adult mentors, and development of connectedness to the school. The findings of this study complemented previous research on characteristics of resilient students, and suggested that the participants derived positive benefits from group membership and from positively contributing to the school. Recommendations based on these findings for researchers included the need for resilience to be studied across other subject areas in school, and across different populations of students. Recommendations for teachers and administrators included varied opportunities for extra-curricular and co-curricular student engagement.
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Clement, Brett G. "A Study of the Instrumental Music of Frank Zappa." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1248708091.

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Kunzmann, Vladia. "Jean-Féry Rebel (1666-1747) and his instrumental music /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37103476k.

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Marcho, Trevor K. "Socially Responsible Music Repertoire: Composer Gender Diversity in Instrumental Ensembles." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1593085683940817.

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Mangueira, Bruno Rosas. "Concepções estilísticas de Hélio Delmiro : violão e guitarra na música instrumental brasileira." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284634.

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Orientador: Marcos Siqueira Cavalcante
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: No período compreendido entre o final da década de 1960 e estes primeiros anos do século XXI, configurou-se, na produção fonográfica brasileira, um gênero de música instrumental com características próprias, em que a cultura do país é permeada pela estética do jazz norte-americano, sendo esperado do músico executante um elevado nível de proficiência e domínio das técnicas de improvisação. O presente trabalho concentra-se na obra de um dos protagonistas desse cenário, o guitarrista e violonista Hélio Delmiro, buscando examinar alguns dos elementos de inventividade musical constituintes de seu estilo, o que, acredita-se, poderá vir a contribuir para uma sistematização da aplicabilidade de tais recursos nesse tipo de arte, com ênfase nos instrumentos de sua especialidade. Para tanto, partindo-se do material resultante da pesquisa de iniciação científica O estilo de improvisação de Hélio Delmiro, foi feita uma comparação contextualizada de aspectos formais e estruturais presentes em sua obra gravada, seja por meio de composições, improvisos ou (re)harmonizações, com procedimentos já sistematizados por estudiosos da música popular. Essa observação demonstrou que Delmiro sintetiza suas influências estilísticas de maneira peculiar e consistente, sendo um importante personagem no processo de consolidação da linguagem da ¿música instrumental brasileira¿, e assumindo uma posição referencial com relação ao papel do violão e da guitarra nesse contexto
Abstract: During the period of time between the late sixties and the first years of the 21st century, the Brazilian phonographic production witnessed the configuration of a genre of instrumental music that proved to have its own characteristics; while containing the Brazilian culture, it is nevertheless permeated by the aesthetics of American Jazz, creating an expectation towards the performing artists of an elevated level of proficiency and the mastering of Jazz improvisational techniques. The genre is called here the ¿Brazilian Contemporary Instrumental Music¿. This paper concentrates on the work of one of the most important protagonists of this genre, the guitarist Hélio Delmiro. We seek to examine some of the elements of Delmiro¿s musical creativity and style, hoping this work will contribute to create a systematization and develop means to its applicability, with an emphasis on Delmiro¿s specialty. In order to realize this research, we departed from the findings of a previous one, developed during our undergraduate years, called ¿Hélio Delmiro¿s Improvisational Style¿. This paper presents a contextualized comparison of structural and formal aspects of Delmiro¿s recorded work, which includes compositions, improvisations, and reharmonizations. Those aspects have been previously systematized by scholars interested in ¿popular music¿, we applied some of those to the study of Delmiro¿s music. The realization that Delmiro makes use of different sources of material to develop his music demonstrated that he synthesizes his stylistic influences in a personal and consistent way, thereby becoming a very important protagonist regarding the process of consolidation of the ¿language¿ of the Brazilian Contemporary Instrumental Music, taking a very important position as a reference on the role and importance of the guitar in that context
Mestrado
Mestre em Música
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ALFELD, ANNA POULIN. "Unsung Songs: Self-Borrowing in Amy Beach's Instrumental Compositions." University of Cincinnati / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1217521725.

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Grasso, Eliot John. "Melodic variation in the instrumental dance music tradition of Ireland." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/11557.

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xxiii, 507 p.
This dissertation contextualizes melodic variation within a cultural, historical, and cognitive framework. This work discusses how traditional musicians learn how to vary melodies by observing norms of social and musical behavior exhibited by senior musicians. The core of this dissertation is the transcription and analysis of fifty source recordings of fifty different Irish musicians playing one tune each dating from between 1904 and 2007. Though the transcriptions of the recordings exhibited a high instance of melodic variation (48.2% of the measures), only a small percentage of variation fell on set accented tones (an average of 7.3%). The considerable invariance of set accented tones suggests that part of what constitutes the concept of a tune in an Irish musician's mind relates to the pitch of these key tones. I introduce the term aesthetic conservatism to designate a philosophical approach to performance practice that seeks to maintain both the dance genre and tune identity. I argue that aesthetic conservatism may be a by-product of archetypes and exemplars created through transcriptions and recording technology. This conservatism may also be a function of famine-induced fear of cultural dissolution or inferiority with respect to more prominent music-making supercultures. I call on the philosophy of aesthetic conservatism to explain why few set accented tones are varied. Of the measures that were varied, 74% of those variations involved the addition, subtraction, or redistribution of ornamentation. To catalogue the variety of variations within this sample, I propose a taxonomy that is designed to account for the number of notes in a measure and to assess intervallic differences over successive repetitions of a tune. Finally, I propose a theory to explain the cognitive processes that allow a musician to vary a melody. I suggest that in the mind of a traditional musician there is both a tune schema and a variation schema. These are flexible models that are distinct and separate but that interact within a short span of time because of the exceptionally efficient anatomy of a musician's brain.
Committee in charge: Anne Dhu McLucas, Chairperson; Lori Kruckenberg, Member; Stephen Rodgers, Member; Glen Waddell, Outside Member
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McGuire, Paul. "Composing with an expanded instrumental palette." Thesis, Brunel University, 2015. http://bura.brunel.ac.uk/handle/2438/12690.

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This thesis is comprised of a portfolio of musical compositions with accompanying media and a written commentary. In each of the seven compositions, the timbral palettes of musical instruments have been expanded through unconventional physical manipulation. The written commentary presents, in detail, specific examples of how this has been achieved. Alongside descriptions of the work in question, select aspects of other composers' music that approach a similar aesthetic are also referred to. In addition, the fundamental role technology has played in the creation or realisation of certain pieces is addressed. Also included are descriptions of the various customised notational systems used throughout the portfolio. It is outlined how each of these systems has been constructed in a clear and practical manner and, where possible, has incorporated elements derived from the lingua franca in order to communicate the required information as efficiently as possible to the performers.
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Hicks, Ann Marie. "Factors Influencing the Teaching of Instrumental Music in Rural Ohio School Districts." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275443334.

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Kuebel, Christa. "PREPARATION, CONTINUING EDUCATION, AND PROFESSIONAL DEVELOPMENT OF INSTRUMENTAL MUSIC MAJORS TEACHING ELEMENTARY GENERAL MUSIC." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1491408733327604.

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Gerolamo, Ismael de Oliveira 1987. "Arte engajada e música popular instrumental nos anos 60 : o caso do Quarteto Novo." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285266.

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Orientador: José Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-25T23:57:11Z (GMT). No. of bitstreams: 1 Gerolamo_IsmaeldeOliveira_M.pdf: 2526865 bytes, checksum: dc90f025d08df6c3275e2932a78e4926 (MD5) Previous issue date: 2014
Resumo: O objeto desta dissertação é a produção musical do grupo Quarteto Novo registrada no LP homônimo lançado pela gravadora Odeon em 1967. Partindo de análises de fonogramas do disco, verificou-se que o grupo produziu uma linguagem híbrida, operando com elementos musicais regionais, principalmente aqueles identificados com a cultura sertaneja nordestina, articulados a procedimentos de outros gêneros e estilos associados a repertórios cosmopolitas. A investigação partiu de duas hipóteses: a possibilidade do ideário nacional-popular dos anos 60 ter balizado as escolhas estéticas dos músicos, orientando-os na retomada de tradições musicais brasileiras; e a de que a ruptura com o jazz, expressa nos discursos dos músicos, é relativa, uma vez que há sinais evidentes de procedimentos típicos do gênero norte-americano na construção da sonoridade característica do quarteto. O projeto artístico que orientou a produção do referido LP refletiu, na opinião dos próprios músicos, a preocupação com o "nacionalismo musical" e a busca de uma sonoridade "tipicamente brasileira". Tudo isso se traduziu em aspectos de arranjo, instrumentação e improvisação que se remetem às tradições musicais populares. A proposta do Quarteto Novo estava inserida num contexto de grande efervescência política e cultural impulsionada por artistas e intelectuais sintonizados com o que Ridenti definiu como "brasilidade revolucionária", uma construção simbólica que se constituiu numa maneira específica de auto-compreensão do Brasil naqueles anos, com forte conotação utópica. A brasilidade revolucionária serviu de parâmetro para a mobilização de uma geração de intelectuais e artistas que protagonizou uma das mais importantes experiências de arte engajada da história brasileira. Nessa conjuntura, a idealização de um autêntico "homem do povo", com raízes rurais, sertanejas, orientou boa parte da produção artística daqueles anos, da qual o disco Quarteto Novo pode ser considerado um exemplo significativo
Abstract: The object of this work is the musical production of the Brazilian group Quarteto Novo recorded on the homonymous LP released by Odeon in 1967. Based on analysis of phonograms disk has been found that the group produced a hybrid language, working with regional musical elements, especially those identified with the Brazilian Northeastern culture, articulated to techniques from other genres and styles. The investigation started with two assumptions: the possibility of national-popular ideology of the 60 Tues christened the aesthetic choices of the musicians, guiding them in the recovery of Brazilian musical traditions; and that the idea of rupture with jazz, expressed in the speeches of their own musicians, is relative, since there is very clear signs of typical procedures of jazz in the sonority of the Quarteto Novo. The aesthetic project that guides the production of that LP reflected, in the opinion of the musicians themselves, the concern with the "musical nationalism" and the search for a sound "typically Brazilian". All this has translated into aspects of arrangement, instrumentation and improvisation which refer to the popular music traditions. The proposal of the Quarteto Novo was embedded in a context of great political and cultural ferment stimulated by artists and intellectuals in tune with what Ridenti defined as "revolutionary Brazilianness," a symbolic construction that was a specific way of self-understanding of Brazil in those years, with a strong utopian connotation. The "revolutionary Brazilianness" served as a parameter to mobilize a generation of intellectuals and artists who starred in one of the most important experiences of activist art of Brazilian history. At this conjuncture, the idealization of a real "man of the people" with rural roots oriented much of the artistic production of those years, of which the disc Quarteto Novo is one of the most significant examples
Mestrado
Fundamentos Teoricos
Mestre em Música
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Jones, Lloyd Edward Walls Kimberly C. "Instrumental jazz ensemble programs in Alabama high schools." Auburn, Ala., 2009. http://hdl.handle.net/10415/2023.

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Britton, Eliot. "Codecs." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116135.

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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process.
Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor.
Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.
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Walker, Timothy M. "Instrumental differences in characteristics of expressive musical performance." Connect to this title online, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1092430692.

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Thesis (Ph. D.)--Ohio State University, 2004.
Title from first page of PDF file. Document formatted into pages; contains xii, 126 p.; also includes graphics. Includes bibliographical references (p. 118-126).
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Chess, Susan Lorrainne. "Keyboard improvisation characteristics of freshman and sophomore instrumental and vocal music majors." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1123721766.

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Thesis (Ph. D.)--Ohio State University, 2005.
Title from first page of PDF file. Document formatted into pages; contains xiii, 141 p.; also includes graphics (some col.). Includes bibliographical references (p. 127-134). Available online via OhioLINK's ETD Center
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Noll, William Henry. "Peasant music ensembles in Poland : a culture history /." Thesis, Connect to this title online; UW restricted, 1986. http://hdl.handle.net/1773/11368.

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Murray, Eric A. "Tradition and innovation in the pedagogy of Brazilian instrumental choro." Thesis, Kent State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3618861.

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Choro is a traditional Brazilian music that began in Rio de Janeiro during the latter half of the nineteenth century. A virtuosic instrumental music, choro developed through Brazilian interpretations of European dance genres, especially polka and waltz. Participation by both amateur and professional musicians characterizes choro's traditional pedagogy, a reflection of informal and formal learning processes and contexts. At the turn of the twenty-first century, choro schools now offer venues for defining and validating the tradition as well as inspiring an atmosphere for innovation and creation. Inherent within the concept of tradition is the dichotomy of continuity and change. This study exposes how institutions negotiate the past and present through a comparison of current and historic pedagogy and modes of learning. Choro institutions use traditional and innovative modes of learning to support and enhance the genre's current practice through community organization, which sustains and contributes to its continued performance. Chapter one focuses on defining choro music, first discussing the etymology of the word 'choro,' followed by a survey of choro's history and review of choro literature. The chapter concludes with an explanation of this investigation's purpose. In chapter two I posit the notion that a music community practices and performs choro. Biographies and stories of choro's past and present community members reveal how they learned choro. The chapter ends with an analysis of the processes that establish and reinforce the community. Chapter three examines how people learn choro. I offer prevailing learning perspectives—acquisition, participation, and knowledge creation—and establish categories for modes of learning—formal, non-formal, and informal—to define the processes and contexts involved in learning choro. Chapter four discusses the musical codes that characterize choro, what the choro community describes as a musical language. The chapter ends with a description of the curriculum at Escola Portatil de Musica, the school case study used for this dissertation. Chapter five is the summation and conclusions, revealing why musicians learn choro music.

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MacLennan, Donald Scott. "Mapping how students conceptualize ancillary movements in instrumental music performance." Thesis, University of British Columbia, 2015. http://hdl.handle.net/2429/52157.

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Music theorists have emphasized the intellectual, disembodied mind throughout music education’s history in Western culture extending back to the time of the ancient Greeks. Additionally, Regelski (2009) notes that the dominant and residual view of music curriculum involves the contemplation of music for its own sake (i.e., autonomous “works”) instead of experiencing it through action. Yet pioneering advocates for movement in music education, including Jaques-Dalcroze, Orff, Kodály, and Suzuki, all affirmed and emphasized the centrality of the body in music making and learning. Present-day instrumental music teachers’ proclivity toward teaching to the minds of their students (marginalizing physical action) seems incongruous with the views of these pioneers, especially when one considers the prevalence of movement and dance in contemporary popular music culture. When instrumental music teachers focus on teaching to the minds of their students, they ignore the importance of the students’ ancillary movements, those physical movements not directly involved in the production of sound (e.g., leaning forward, swaying side to side). Research on the importance of ancillary movements in the experiences of adolescent students studying instrumental music is sorely lacking. I thus undertook a two-month study utilizing a phenomenographic approach, which involves identifying and describing the varied conceptions of a phenomenon held by the members of a group collectively, not individual conceptions. I used interviews and student journals to map the different conceptions 24 adolescent instrumental music students have of ancillary movements. I found that ancillary movements reflect students’ degree of engagement with music-making and that these movements hold important meanings for them. Participants’ statements suggested that students become more engaged with music they are performing when they 1) are given freedom to make their own natural ancillary movements, 2) feel confident with their music skills (i.e., balance between challenge and skills), 3) do not feel self conscious about what others might think, and 4) discover that their teachers support ancillary movements. Moreover, students’ descriptions of their conceptions revealed increasingly complex understandings of ancillary movements, suggesting ways in which educators might develop more embodied approaches to teaching instrumental music.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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Rowe, Victoria C. "Patterns and consequences of gender interactions in instrumental music lessons." Thesis, University of Roehampton, 2008. https://pure.roehampton.ac.uk/portal/en/studentthesis/patters-and-consequences-of-gender-interactions-in-instrumental-music-lessons(50a8e1cb-524d-4258-9e8b-394a72e66225).html.

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This mixed methods study investigates an aspect of learning which is often overlooked: that of gender interaction in one-to-one instrumental music lessons. The gender of teacher and pupil may contribute to differences in behaviour and expectations, which could impact upon teaching and learning processes and outcomes. The study asks the following questions: ‘Do instrumental teachers and pupils hold gendered beliefs about each other and about their lessons, and if so, how do these beliefs affect their interactions, and what might be the consequences for learning?’ Three linked studies - a teachers’ and pupils’ questionnaire study, a lesson observation study, and an interview study - were conducted to offer different perspectives on these research questions. The questionnaire studies found that participants held several stereotypical expectations. Teachers believed that girls were more conscientious than boys; pupils believed that male teachers were more ‘likely to set challenges’ than female teachers, who were more likely to be characterised as ‘patient’. The observation study found many similarities in the ways men and women interacted with boys and girls. Some important variations were identified, however, including the findings that during lessons male teachers were likely to play their instruments more frequently than female teachers, and that boy pupils were less likely than girls to look at their teacher's face. In the interview study, teachers and pupils offered background information and opinions which helped to contextualise the earlier findings. A ‘good’ relationship was seen by all participants as a key factor for successful teaching and learning, but this was defined in different ways. Men and boys were most concerned with the technicalities of playing the instrument well. Women and girls, while valuing skill, also maintained the importance of more affective issues, such as mood, personal likes and dislikes. As well as contributing to educational psychology by exploring an under-researched area, the findings will be of practical use to instrumental teachers and to conservatoires, universities and teacher educators in general education. Awareness of gender issues, and particularly of the need to avoid stereotypical expectations, will help teachers to provide equity for pupils, in order that all can achieve their potential.
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Proksch, Bryan Jeffrey Bonds Mark Evan. "Cyclic integration in the instrumental music of Haydn and Mozart." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,203.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.
Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music." Discipline: Music; Department/School: Music.
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Aslan, Jessica. "A practical examination of computer presence in electro-instrumental music." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25504.

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This thesis explores the following questions: What is the influence of algorithmic software on the composition process? How can spectromorphologies be manipulated in search of coherent and lucid coupling in electro-instrumental (EI) music? What are the practical implications of the performance of EI music? This thesis will unfold practicalities, creative approaches, and new directions for the practice of EI music, drawing together spectromorphological theory and instrumental techniques. Framed around a body of work for solo instrument/ensemble with computer, I will assess each aspect of my musical process. Musical vocabularies, grammatical organisation and collaborative performance practices will be discussed. Specifically, my research breaks down components of composition into context, materials and an attempt towards categorisation and grammatical organisation including spectral and algorithmic techniques. With the knowledge that the computer has influence on the music making process, I identify and discuss some of its key contributions. Additionally, knowing that the tools and spaces that facilitate performance also impact the music, I seek to understand how these tools and environments contribute in order to get the best musical responses from them. Collaboration is a key theme, and throughout the thesis I pay attention to performer presence in the music making process. This thesis should be read in conjunction with my submitted portfolio for relevant case studies and musical examples.
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Van, Hook Colin. "The Relationship Between Instrumental Music Training and Corpus Callosum Growth." Thesis, Boston College, 2004. http://hdl.handle.net/2345/467.

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Thesis advisor: Ellen Winner
Recent studies have shown differences between several structures in the brains of professional level musicians and non-musicians. Professional musicians form an ideal group to study changes in the human brain due to the unique abilities required of them. Since many musicians begin training at a young age, it is assumed that these differences are attributable to intense, early experience brought on by the cognitive and motor demands of music training. However, it remains to be seen whether these structural differences are due to changes brought on by experience or preexisting ones which draw children to music lessons. Using magnetic resonance images, I compared the size of the corpus callosums in two groups of children who ranged between the ages of five and seven, one just beginning music lessons and another not beginning music lessons. I also compared the groups in terms of their performance on a finger tapping test for differences in speed and accuracy. A second set of comparisons of callosal size was conducted between nine-to-eleven-year-olds who had been taking music lessons for at least a year and those who had not. Differences in the five-to-seven-year-olds were seen in the anterior corpus callosum corrected for brain volume between the musician and non-musician groups. Differences in accuracy of finger tapping were seen between the musicians and non musicians, as well as between those in the musician group who had received less than sixteen or twenty-five weeks of training versus those who had received less. These findings indicate that while musicians start out with at least one slightly larger measure of corpus callosum size, differences in finger skill tend to develop slowly
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Psychology
Discipline: College Honors Program
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Wakeling, Jennifer Maree. "Divine resonance : Meaning-generation via instrumental music within Christian worship." Phd thesis, Australian Catholic University, 2019. https://acuresearchbank.acu.edu.au/download/831ce265e11e5c99cae49a448d121b7588ba63646afeb407fa096c0198b02f01/4677904/Wakeling_2019_Divine_resonance_meaning-generation_via_instrumental.pdf.

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This thesis investigates the generation of Christian meaning via the performance of instrumental music (IM) separate from text within Christian worship. IM is non-verbal, purely qualitative, and lacking in conventional theological reference. Its meaning is multivalent and relies heavily upon the sensory, imaginative, emotional, and transcendent realms of human experience. Within logo-centric views of Christian meaning-generation, IM can be perceived as contentious and tends to be treated predominantly as an accompaniment to text or ritual activity, a cue, or a soundtrack to visual presentations rather than considered as a stand-alone worship act. This thesis argues in a theoretical and interdisciplinary way that IM is a valid and valuable medium within worship. When IM is contextualised within worship, it produces a distinctive kind of musical-liturgical dynamic space (MLDS) in which a unique and particular set of intra-musical, liturgical, and extra-musical/-liturgical factors and interrelations between factors converge. IM functions within MLDS as a Christian symbol via which new Christian insight and experience can be elicited for worshippers at both implicit and explicit levels of meaning-generation. IM’s Christian symbolic capacity is argued on theological, liturgical, musicological, and semiotic grounds and exemplified in musical-liturgical scenarios. Paul Tillich’s discussion of symbols and the art-religion interface, Karl Rahner’s transcendental theological anthropology and Real Symbol, and Louis-Marie Chauvet’s interpretation of symbolic mediation ground the thesis theologically. The role of metaphorical and analogical processes and the affections within worship with reference to James K. A. Smith’s idea of the Christian imaginary, David Tracy’s notion of the analogical imagination, and Don Saliers’ account of an affections-ethics link underpin the thesis liturgically. Detailed structural and semiotic analyses qualify the thesis’ musicological claims. The semiotic theory of Charles Peirce provides the thesis’ central theoretical component – including his tripartite structure of the sign and ten sign classes. Peirce’s semiotics provides a detailed and rigorous tool for explicating MLDS and supporting the claim that IM can generate Christian meaning.
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