Relevant bibliographies by topics / Master of Musical Arts

Academic literature on the topic 'Master of Musical Arts'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Master of Musical Arts"

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Koryakin, Olexiy. "ТHE METHODOLOGICAL SUPPORT OF SOUND ENGINEERING TRAINING OF FUTURE MASTERS OF MUSICAL ART." OPEN EDUCATIONAL E-ENVIRONMENT OF MODERN UNIVERSITY, no. 8 (2020): 26–33. http://dx.doi.org/10.28925/2414-0325.2020.8.4.

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The article is devoted to specifying the basics of methodological support of sound processing training of future masters of musical art of performing specializations in the specialty «Musical Art». The article analyzes the general direction of professional training in the specialty «Musical Art» and defines the main content of sound processing training of future masters of musical art of performing specializations; outlines the conditions for incorporating computer information technology into the content of professional training of future masters of musical art of performing specializations. This article provides few examples of the use of multimedia computer technology and software for content of sound processing training for future masters of musical art in the specialty «Musical Art». The article contains general characteristics of the educational discipline of the cycle of professional training of the future masters of musical art «Sound processing and musical acoustics», as well as few examples of its use in the teaching of various multimedia technologies and computer programs. The article also defines the main stages of the technique of preparation of training session with the future masters of musical arts of performing specializations with the use of information multimedia computer technologies and software, as well as the basic conditions for the inclusion in the content of professional training of masters of musical arts of performing specializations of computer technology. The emphasis is placed on the use in the process of sound processing training of future masters of musical arts of performing specializations in the specialty «Musical Art» of multimedia technologies and software, which is an important component of ensuring the competitiveness of graduates in today's labor market
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Inna, Synevych. "Structure and content of quasi-professional experience." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 53–60. http://dx.doi.org/10.24195/2617-6688-2019-2-8.

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The content of quasi-professional activity of future teachers of Musical Arts has been disclosed. It has been determined that students’ formation of quasi-professional activity through their quasi-professional activity within the educational process provides the modelling of situations where future specialists can practice in successful implementation of educational functions of the teacher on the basis of gained knowledge and experience. It has been noted that the process of quasi-professional experience formation also contributes to the growth of the creative and cognitive activities, stability of students’ professional motivation providing the development of their positive, value-centre attitudes towards the profession of the Music teacher. The structure of the quasi-professional experience of the future teachers of Musical Arts has been disclosed, the main structure components have been determined, in particular, professional and reflexive, activity-centred and creative, value-centred and motivational, emotional and interpretive. The detailed analysis of each structure component has been carried out. It has been emphasized that the formation of the professional-and-reflexive component of the quasi-professional experience provides influence on the motivational value-centred, intellectual, activity-centred spheres as well as on the improvement of professional skills of the future teachers of Musical Arts. The activity-centred and creative components aimed at obtaining knowledge, practical experience of the musical-and-creative, vocational and pedagogical activities by the students as well as developing of their own proficiency have been considered. The value-centred and motivational components which determine vectors of value orientations, stable motivational sphere, provide increased learning efficiency of the future teachers-musicians, activate the need in professional self-realization have been characterized. It has been proved that the emotional and interpretive components are significant components of the quasi-professional experience which enable the students to master professional skills and develop their personal qualities that determine emotional and personal styles as well as to form an image of the Musical Arts teacher, artistry, musical interpretation that substantially influence their further professional activity. Keywords: experience, structure, quasi-professional experience, future teacher of Musical Arts.
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Zhuhua, Li. "The structure of the future Music teachers’ methodological culture." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2020, no. 1 (130) (February 7, 2020): 22–27. http://dx.doi.org/10.24195/2617-6688-2020-1-3.

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Our country's aspirations for joining the European educational space, acquiring institutions of the national education system, including establishments of general education, competitiveness in the world educational services market actualize the need for its modernization and quality improvement. Modern state documents that provide the legal normative framework for national education are aimed at the above mentioned. The purpose of the article is to highlight and substantiate the structure of the methodological culture of the future teachers specialised in Musical Arts. The article describes the essence of the phenomenon "methodical culture of the future teachers of Musical Arts". The use of the systematic approach as a unity of ideas, baselines, starting points made it possible to consider the identified phenomenon as a system containing specific constituents which determine its peculiarities. These components are the structural components of the phenomenon under study. The analysis, generalization and interpretation of scientific sources and practices of professional training targeted to the future teachers of Musical Arts allowed us to identify and characterize the structural components of their methodological culture as a personal formation: epistemological (as a set of acquired knowledge necessary for the future teacher of Musical Arts; axiological (as a system of values and orientations of the future teacher of Music Arts which determines the cultural orientation of his / her musical and professional activities and personal attitude to the solving of methodical problems); praxeological (characterized by the presence of methodological-pedagogical and special skills, the totality of which ensures the cultural correspondence of the future professional and the quasi-professional activity of the future teacher of Musical Arts); personal (implies an emotionally positive attitude of the future Music teacher to the need to master and qualitatively carry out methodological and pedagogical activities on the basis of emotional flexibility, ability to evaluate and self-evaluate its progress as well as those methodical products, the use of which contributed to the achievement of the tasks.
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Xuan, Wu. "Criteria, indicators and levels of musical arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky, no. 3 (128) (October 31, 2019): 143–50. http://dx.doi.org/10.24195/2617-6688-2019-3-20.

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The article presents the criteria, indicators and levels of Musical Arts masters’ preparedness (proficiency levels) for developing schoolchildren’s vocal culture by means of the participation technology. The art- and worldview-oriented, creative-performing and innovative-organizational criteria have been determined on the basis of the structure of the Musical Art masters’ training. The art- and worldview-oriented criterion is determined by: the openness of the process of emotional experience and artistically justified interpretation of an image as a worldview of an artistic character (hero); coordination while identifying moral orientations in a group and an independent choice of vocal value; mastering the variability of vocal artistic and pedagogical creative tasks and flexible technologies. The creative-performing criterion is characterized by a high level of participants’ vocal culture; mastery of types, techniques, organizational forms of vocal participation; voluntariness and interest in the general vocal process, polysubject-centred creative pedagogical interaction. The innovative-organizational criterion is revealed through these indicators: skills to organize and conduct an interactive lesson as a vocal participatory art-practice; knowledge of the stages and experience of organizing the process of making a cooperative vocal-creative decision; mastery of the means enabling the activation of the group energy involving all participants of the vocal process. The preparedness (proficiency) levels of the subjects involved into education have been determined – low, intermediate, high. The criteria, indicators and levels indicated in the work allow evaluating Musical Arts masters’ preparedness for developing schoolchildren’s vocal culture by means of the participation technology in a complex way as well as determining the state and development dynamics of the vocal culture of the students constituting this category. Keywords: masters of Musical Art, schoolchildren’s vocal culture, technologies, participation, function, criterion, indicator, level.
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Mandolini, Ricardo. "Una composición musical a partir de una improvisación: Fundamentación hermenéutica- Experiencia heurística de creación." Itamar. Revista de investigación musical: territorios para el arte, no. 8 (July 8, 2022): 137. http://dx.doi.org/10.7203/itamar.8.24823.

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Una composición musical a través de la improvisación. Fundamentación hermenéutica – Experiencia heurística de la creación, es un artículo experimental nacido de una realización musical pedagógica desarrollada en 1986 en el curso de Creación Musical de Ricardo Mandolini, en la licenciatura del Departamento de Estudios Musicales de la Universidad de Lille III, Francia. Con el nacimiento de la disciplina musicológica Heurística Musical, parte de la formación du Master del CEAC (Centre de Recherches des Arts Contemporains) de la Universidad de Lille, el modelo de esta experiencia fue reflexionado e interpretado a la luz de diversas contribuciones teóricas de filósofos y psicólogos. Estas reflexiones constituyen la primera parte del artículo; los escritos de Baumgarten, Winnicott, Straus, Ehrenzweig, Adorno y Morin son presentados aquí, sin respetar un orden cronológico sino su pertinencia gradualmente creciente para cernir el sujeto. La exégesis e interpretación de los textos abre camino a la segunda parte del trabajo, que contiene el “libro de bitácora” de una experiencia de creación. De ella el lector será testigo desde su nacimiento hasta su culminación. Se trata de una improvisación vocal que se desarrolla y se transforma en una composición musical. El instrumento metodológico utilizado aquí es una semiología evolutiva que nace y se desarrolla con la música, permitiendo realizar una tomografía, instante por instante, del camino recorrido. El propósito principal de este artículo es demostrar la manera compleja como la teoría y la práctica interactúan en un proceso de creación.
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Zorin, Sergei. "Musical Color-Painting: In Memory of Yu. A. Pravdyuk." Leonardo 38, no. 1 (February 2005): 60–66. http://dx.doi.org/10.1162/leon.2005.38.1.60.

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On 17 May 2002 the master of the art form known as musical color-painting, Yury Pravdyuk, passed away in Kharkov, Ukraine. Pravdyuk was the inventor of an ingeniously simple instrument for color-painters and the author of approximately 150 inimitable color-dynamic compositions to accompany the music of composers of different eras and peoples. How the idea of musical color-painting was born and Pravdyuk's creative path is the subject of the present article by one who had been a close assistant of Pravdyuk since 1965.
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Turner, John. "In Memoriam Thomas Pitfield: Master of Arts." Musical Times 141, no. 1870 (2000): 9. http://dx.doi.org/10.2307/1004356.

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BARBASHOVA, I. "THE QUALITY DYNAMICS OF YOUNGER STUDENTS’ MUSICAL SENSORY SKILLS: RESULTS OF THE FORMATIVE EXPERIMENT." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 1 (July 6, 2022): 39–54. http://dx.doi.org/10.31494/2412-9208-2022-1-1-39-54.

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The importance of forming primary school children’s musical perception is justified by the introduction of the new version of the educational standard and educational programs as well as by teaching Arts on the basis of an integrative methodological approach. The purpose of the article is to scientifically ground the system of didactic influences on musical perceptual processes of younger school children focusing on the following research tasks: a) to define sensory ability as a unit of functioning of musical perception; b) to characterize the levels of pupils’ musical sensory skills formed in the mass experience of primary education; c) to disclose the specifics of variable experimental effects which differ in the degree of intensity of intermodal connections of sensory channels; d) to compare the quality dynamics of musical sensory skills formation in different versions of the pedagogical experiment. Musical sensory ability is defined as the performance of a system of auditory interiorized perceptual familiarizing and cognitive actions based on the mastered standards of music sounds and skills of applying these standards in the examination of musical phenomena. It has been found that in the mass experience of primary education pupils master musical sensory skills at elementary, intermediate and sufficient quality levels where the intermediate one prevails. The system of exercises and game tasks has been developed on the basis of intermodality with coordination of musical and phonemic auditory, musical auditory and color visual, musical auditory and spatial visual sensory processes. The system is aimed at expanding and systematizing pupils' reference ideas about music sounds as well as forming rational ways of their examining musical phenomena. The effectiveness of the introduced didactic influences has been proved: in comparison with the control group the participants of experimental groups, especially the first one, have demonstrated both the highest efficiency of distinguishing and systematizing music sounds and a variety of skills to reproduce them in singing, spatial modelling and instrumental game. The following changes have taken place in the structure of experimental groups: the respondents with an elementary level of musical perception development have not been identified, but a level gradation with intermediate, sufficient, high and consistently high levels of mastery of musical sensory processes. Key words: musical sensory ability, standards of musical sounds, methods of examination of musical sounds, game tasks, exercises, younger students.
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McCullough, Lis, and John Finney. "Living with the spiral: a duoethnographic perspective." British Journal of Music Education 39, no. 1 (March 2022): 67–79. http://dx.doi.org/10.1017/s0265051721000322.

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AbstractThe authors of this article met on a Master of Arts (MA) music education course a month before the Swanwick Tillman Sequence of Musical Development was published. The course was a portal to an exciting range of literature, with the Swanwick Tillman spiral providing a long-term source of discussion and reflection as our careers have diverged and converged over the intervening years. This paper takes the form of a duoethnographic conversation in which we summarise and reflect on that ongoing synergistic discussion, showing the influence the spiral has had within our particular situations.
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Dorris, George. "Robbins and other masters of the musical." Dance Chronicle 13, no. 2 (January 1990): 258–60. http://dx.doi.org/10.1080/01472529008569040.

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Dissertations / Theses on the topic "Master of Musical Arts"

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Collins, Cheri D. "Connecting science and the musical arts in teaching tone quality integrating Helmholtz Motion and master violin teachers' pedagogies /." Fairfax, VA : George Mason University, 2009. http://hdl.handle.net/1920/4544.

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Thesis (D.A.)--George Mason University, 2009.
Vita: p. 157. Thesis director: James Gardner. Submitted in partial fulfillment of the requirements for the degree of Doctor of Arts in Community College Education. Title from PDF t.p. (viewed June 10, 2009). Includes bibliographical references (p. 145-156). Also issued in print.
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Lebo, Cynthyny Ann. "Musical linguistics: How music and artistic creativity when delivered as a linguistic practice, help students master academic skills in English language arts." CSUSB ScholarWorks, 2012. https://scholarworks.lib.csusb.edu/etd-project/3389.

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This Masters project consists of two elements: 1) an integrated after-school program to improve student English language reading and academic outcomes for third graders' vocabulary development by incorporating music, artistic creativity and linguistics; 2) a pilot sample curriculum that demonstrates the approach for building student comprehension through musical theater and Science, Technology, Engineering, and Mathematics (STEM) content experiences. Called "Water Buddy", this is an after-school program uses singing, dancing, writing, and play to build reading and vocabulary skills. The goal is to improve learner academic outcomes by mastering the elemental building blocks of words, letters, symbols by making memorable the sound units, idioms, print conventions, and concepts that they were previously lacking.
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Leffner, Josephine. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: CABARET HISTORY IN THE MAKING." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2664.

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Cabaret as a genre has influenced and is influenced by musical theatre. As cabaret has evolved throughout history, musical theatre has often paralleled its journey. Cabaret thrived before the term "musical theatre" was coined and suffered hard times during the Golden Age of Musical Theatre. The correlation of the two genres cannot be denied, and exploring cabaret history will reveal how deeply the connection lies. My collaborator Debbie Tedrick and I will attempt to define cabaret through a two-woman cabaret show we will write, produce, and perform together. The show, Black Cats, Berlin, Broadway and Beyond, will be a one-act historical look at the genre of cabaret. It will include material garnered from historical research of the cabaret genre, specifically focusing on some of the famous women, songs, stories, lives, and important contributions. The cabaret show will cover information and art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic and will culminate with cabaret's insurgence into American culture up to, and including, the state of American cabaret today. American cabaret will be emphasized, but a portion of the show will explore American cabaret's European roots. My thesis will explore the triumphs and tribulations of putting together the show. As the culmination of my UCF studies, this project will test my abilities as a librettist, performer, creative artist, director, and collaborator. This thesis will include the actual show performances as well as a written monograph document recording the project's journey from its inception to conclusion.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Tedrick, Deborah. "BLACK CATS, BERLIN, BROADWAY AND BEYOND: THE GENRE OF CABARET." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2668.

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Music and Theatre have always captivated me. As a child, my parents would take me to live performances and cinematic shows and I would sit rapt, watching the theatrical events and emotional moments unfold before my eyes. Movie musicals and live shows that combined music and theatre were my favorite, especially theatrical banter and improvisation or sketch comedy. Some of my favorite youthful memories were my annual family summer trips to Las Vegas to visit my grandparents for six weeks. As a youngster, I got to experience the "old school" Las Vegas, replete with extravaganza, spectacle, cabaret, circus, lounge and nightclub acts, stand-up comedy, intimate revues, and all things marketed under the guise of entertainment, art, or both. Those summers, while not overtly planned as academic or educational in nature, proved, in retrospect, to be the training ground for what was to become my passion: the art of the cabaret genre. As a person who has always loved theatrical diversity, I am drawn to cabaret as an art form. Anything that fuses other forms interests me, and cabaret amalgamates many of the artistic forms I have grown to love. I come from a unique background of classical, jazz, musical theatre and pop styles, and have studied these styles in both the piano and vocal arena. The cabaret genre allows me to realize fully the stylistic variety of performance techniques with which I excel. My mother is a classical singer and my father a jazz pianist; during my youth they would perform at the piano, "meeting in the middle" so to speak in the world of Musical Theatre, through the fusion of cabaret, classical, jazz, and pop. Growing up hearing a song like "Summertime," from Gershwin's Porgy and Bess, equally artistically rendered as both a classical aria and a jazz tune in my home was rich fodder for the vital informal education I received by being the offspring of musicians. It is due to this musical legacy that was passed on to me through my parents that I learned to explore the myriad of possibilities one can achieve through artistic musical and theatrical interpretation. Beyond the freedom of stylistic variety, cabaret performance also allows conventions such as direct interaction in the form of the proverbial "lowered fourth wall," allowing me to use my improvisational acting and interactive skill set as well as my musical skills. Cabaret is generally more intimate and personal in nature and I enjoy the camaraderie cabaret affords. Cabaret is interactive and intellectual and I am drawn to those aspects; I like the fusion of interactive banter and intellectual artistry. Also appealing to me is the "insider" sense cabaret not only allows but also encourages. Recalling my youthful memories of the Vegas shows in which the performer spoke directly to audience members, I remember the sense of belonging I felt at the recognition of some of the inside jokes. I knew I wanted to be involved with any aspect of music and theatre that would allow me the freedom to go with the moment, to reach people differently on any given day, to change with the times, and adapt to my audience and to the shifting world around me. I knew I had found a home in this intimate, insular, interactive, and intellectual art form known as cabaret. For these reasons and more I have chosen the genre of cabaret to be my intended thesis research project. I will produce, direct, and perform in a cabaret show, which will be the thesis performance. For the performance aspect of my thesis, in collaboration with my thesis partner, Josephine Leffner, I will perform a one-act chronological, historical, and stylistically varied cabaret show. The show will include material garnered from historical research of the cabaret genre, specifically settling on some of the famous women, songs, stories, lives, and important contributions. The cabaret will cover information, music, and spoken-word art from cabaret's inception in the Paris Montmartre district in 1881 to its height in Germany during the Weimar Republic. The show will culminate with cabaret's insurgence into American culture up to and including the state of American cabaret today. While my performance will focus mainly on American cabaret, a portion of the show will explore cabaret's European roots. Creating and performing this show will educate me further on the genre itself, as well as expand my performing skills through the varied styles in which I will perform within the realm of a single evening's entertainment. Creating and performing the show will also challenge me as a producer, director, promotional and administrative coordinator, music director, arranger, vocal director, collaborator, vocalist, pianist, actor, and writer. The show is intended as a kind of "Cabaret 101," in that the intended audience is treated to a night of variety entertainment with some historical background on the genre of cabaret. The audience is not expected to have any prior academic or experiential knowledge of cabaret in order to understand or enjoy the show. The cabaret intellectual will also be able to enjoy the show, as the songs, poems, skits, and sketches are intended to amuse and delight both the novice and the experienced cabaretist. For the research and analysis portion of my thesis monograph document I will provide information on cabaret's roots in France and Germany, as well as include informative research on American cabaret, its history and its current trends. I will have several chapters dedicated to the historical research and to other items such as the formatted libretto, documentation of a performance report from my thesis committee head, and a list of references used throughout the research and libretto chapters. I will include a structural and role analysis of the show itself and my contributions to it as outlined by the parameters of my graduate studies program. Several chapters of appendices will be included as information pertinent to the show such as costume, props, lighting lists as well as band and technical needs for the show itself. An introduction and conclusion will be created to bookend my document solidly and reveal myself as a person as well as a performer. This section will include reflective information on my intentions, triumphs, and tribulations, and will be codified through the opening and concluding perspectives. Through the process of writing the thesis monograph document I will create a public and personal record of the process, research, performance challenges, and decisions made throughout this journey. This document will be used as historical help to me should I need to refer to my thesis for later personal or professional use. The document will also be on record for the UCF theatre department, as I apply not only my performance training (as exhibited through the show itself) but also the research and critical thinking skills required of a masters degree candidate at a conservatory training program such as this one. Beyond its use for myself or for the department, I write this monograph document for others whose love and interest in studying the genre of cabaret match my own.
M.F.A.
Department of Theatre
Arts and Humanities
Theatre
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Williams, Belinda Raylene. "May you never feel the same about mental illness again -- : community theatre's contribution towards deinstitutionalising and destigmatising people with mental health problems : a case study: Lillian." Thesis, Queensland University of Technology, 2001.

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This thesis investigates the field of arts-in-health in Australia by using Lillian 2000 as its primary case study. 'Arts-in-health' is a term coined by Sally Clifford in her Masters thesis (1997, p.3) to define participation-based community arts projects in healthcare settings. This research seeks to develop Clifford's work by analysing an arts-in-health project's impact on the community and its participants. Lillian is a rock musical written by Michael Bishop in collaboration with mental health patients at the Launceston Hospital in Tasmania in 1989. Over the past eleven years Lillian has been performed several times by a variety of people ranging from mental health workers and patients/clients, to community theatre groups and high school students. As a community theatre project, the musical aims to overcome public fears and destigmatise mental illness by raising community awareness and understanding about mental health issues. Issues addressed in this research include: the benefits of arts-in-health projects in healthcare settings; the need to combat negative stereotypes of mentally ill people proliferated by the media; a community theatre project's capacity to effect social change; and the discursive and ideological developments within mental healthcare - moving away from therapy to health promotion.
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Smith, Felicity. "The Music of Rene Drouard de Bousset (1703-1760): a Source Study and Stylistic Survey, with Emphasis on His Sacred Output : a thesis submitted to the New Zealand School of Music in fulfilment of the degree of Master of Music in Musiology." New Zealand School of Music, 2008. http://hdl.handle.net/10179/1114.

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Rene Drouard de Bousset (1703-1760) was an admired composer and an organist of renown. This thesis examines this musician's life and work, and attempts to bring Bousset's music, hitherto largely unknown, to the attention of musicologists and performers today. Primarily a source study, the thesis makes a survey of all known copies of Bousset's published works, addressing questions of dates, reprints and corrections. Historical context and musical style are also discussed. Particular emphasis is given to Bousset's sacred music in the French language two volumes of sacred cantatas and eight settings of Odes sacrees by Jean-Baptiste Rousseau - and its place within the French tradition of Psalm paraphrase settings. The figure of J.B. Rousseau is also examined, as the librettist of Bousset's Odes, and as an important literary contributor to French music at the turn of the eighteenth century. The source study is supplemented by a catalogue in the style of the Philidor Oeuvres database produced by the Centre de Musique Baroque de Versailles, containing all Bousset's known works, extant and lost. This exposition of Bousset's compositional output is prefaced by a biographical overview assembled principally from eighteenth century publications and archival documents. Volume II of this thesis comprises a critical performing edition of Bousset's first volume of Cantates spirituelles (1739).
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Fermelin, Fredrik. "Master essä." Thesis, Kungl. Konsthögskolan, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-21.

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Kapitel 1-5 är ett gestaltande utav de processer som en konstnärlig praktik består utav, i ful litterär form. Texten består även av ett inledande förord och en eftertext.
[I examensarbetet ingår utställningen "Taking care of business":] Material: gelatin, senap, kontorsstolar, rökelse, laser, binärljud, robotdammsugare, kalender Teknik: installation perfromance
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Degges, Douglas Ross. "Master of fine arts thesis." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/2854.

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In the course of studying painting for the past three years at the University of Iowa, I have found collaborating with other artists to be a great way for me to try on different hats. Two of these collaborations in particular, The Old Man Study Group with Hamlett Dobbins (Memphis, TN) and The Coracle Drawing Club with David Dunlap (Iowa City, IA), have given me the license and opportunity to pretend to be someone else. These collaborative projects have asked me to consider, and at times adopt, even if only for a moment, the interests and concerns of another maker. A few months into these two projects, I noticed that the work I was making on my own, in the isolation of my own studio, was suddenly open to the world's innovations, and not just my own.
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Torres, Nuñes del Prado Paola. "Aphopenial Codex : Master Essay." Thesis, Kungl. Konsthögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-294.

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Cameron-Caluori, George. "Philosophy and musical criticism." Thesis, University of Ottawa (Canada), 1988. http://hdl.handle.net/10393/5314.

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Books on the topic "Master of Musical Arts"

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Benny Hill: Merry master of mirth : the complete companion. [London]: B.T. Batsford, 1999.

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William, Fleming. Musical arts & styles. Gainesville, FL: University of Florida Press, 1990.

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Frank, Macomber, ed. Musical arts & styles. Gainesville: University of Florida Press, 1990.

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National College of Art and Design. Master of Arts degree exhibition. [Dublin]: National College of Arts and Design, 1997.

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Publishing, Arco, ed. Master the GED: Language arts, writing. 3rd ed. Australia: ARCO, 2002.

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Department], Wimbledon School of Art [Printmaking. Master of arts and postgraduate printmaking. London: Wimbledon School of Art, 1996.

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Hila, Antonio C. The musical arts in the new society. [Manila]: Marcos Presidential Center, 2007.

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1963-, Hollmann Mark, ed. Urinetown: The musical. New York: Faber and Faber, 2003.

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Bérody, Dominique. Jeune public: Théâtre, marionnettes, danse, théâtre musical. Paris: Association française d'action artistique, 1998.

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Meierovich, Clara. Vicente T. Mendoza: Artista y primer folclorólogo musical. México: Universidad Nacional Autónoma de México, Coordinación de Humanidades, 1995.

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Book chapters on the topic "Master of Musical Arts"

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Loth, Helen. "Transposing musical cultures in music therapy." In Intercultural Arts Therapies Research, 75–90. Abingdon, Oxon; New York, NY: Routledge, 2016.: Routledge, 2016. http://dx.doi.org/10.4324/9781315726441-5.

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Moyer, Ann E. "Music, Mathematics, and Æsthetics: the Case of the Visual Arts in the Renaissance." In Epitome musical, 111–46. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.em-eb.3.3282.

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Idamoyibo, Atinuke Adenike, and Emily Achieng’ Akuno. "Systematic instruction for musical arts education." In Music Education in Africa, 249–61. Abingdon, Oxon; New York, NY: Routledge, 2019. | Series: Routledge studies in music education: Routledge, 2019. http://dx.doi.org/10.4324/9780429201592-16.

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Clough, Nick, and Jane Tarr. "CM 16: MUSICAL ELEMENTS." In Addressing Issues of Mental Health in Schools through the Arts, 290–92. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429032172-11p.

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Clough, Nick, and Jane Tarr. "CM 24: MUSICAL IMPROVISATION." In Addressing Issues of Mental Health in Schools through the Arts, 314–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9780429032172-11x.

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Hebert, David G. "Ensemble Ethos: Theorizing Cultures of Musical Achievement." In Landscapes: the Arts, Aesthetics, and Education, 251–57. Dordrecht: Springer Netherlands, 2011. http://dx.doi.org/10.1007/978-94-007-2178-4_17.

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Lipten, David. "Semiotics and Musical Choice: “Beyond Analysis” Revisited." In The Aesthetic Discourse of the Arts, 105–42. Dordrecht: Springer Netherlands, 2000. http://dx.doi.org/10.1007/978-94-011-4263-2_7.

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Block, Elaine C., and Frédéric Billiet. "Musical Comedy in the Medieval Choir: England." In Profane Arts of the Middle Ages, 209–30. Turnhout: Brepols Publishers, 2007. http://dx.doi.org/10.1484/m.pama-eb.3.873.

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Grosholz, Emily Rolfe. "Four Master Tropes, from Euclid to Leibniz, with Burke." In Mathematics, Culture, and the Arts, 97–111. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98231-1_6.

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Racy, A. J. "Improvisation in Arab Musical Practices." In The Routledge Handbook of Philosophy and Improvisation in the Arts, 462–72. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003179443-36.

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Conference papers on the topic "Master of Musical Arts"

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Kaestri, Veronica Yoni. "Implementation of Workshop and Master Class Music for Students Institut Seni Indonesia Yogyakarta." In 1st International Conference on Intermedia Arts and Creative. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008561001360140.

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Antunes, Micael, Danilo Rossetti, and Jonatas Manzolli. "A computer-based framework to analyze continuous and discontinuous textural works using psychoacoustics audio descriptors." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10415.

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This paper discusses a computer-aided musical analysis methodology anchored on psychoacoustics audio descriptors. The musicological aim is to analyze compositions centered on timbre manipulations that explore sound masses and granular synthesis as their builders. Our approach utilizes two psychoacoustics models: 1) Critical Bandwidths and 2) Loudness, and two spectral features extractors: 1) Centroid and 2) Spectral Spread. A review of the literature, contextualizing the state-of-art of audio descriptors, is followed by a definition of the musicological context guiding our analysis and discussions. Further, we present results on a comparative analysis of two acousmatic pieces: Schall (1995) of Horacio Vaggione and Asperezas (2018) of Micael Antunes. As electroacoustic works, there are no scores, therefore, segmentation and the subsequent musical analysis is an important issue to be solved. Consequently, the article ends discussing the methodological implication of the computational musicology addressed here.
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Santana, Charles de Paiva, Jônatas Manzolli, Jean L. Bresson, and Moreno Andreatta. "Towards a Borgean Musical Space: An Experimental Interface for Exploring Musical Models." In Electronic Visualisation and the Arts (EVA 2015). BCS Learning & Development, 2015. http://dx.doi.org/10.14236/ewic/eva2015.8.

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Bajunid, Siti Arsalaan, and Rizal Ezuan Zulkifly Tony. "Fazil Say and His Musical Identity: Musical Embellishments in “Black Earth”." In 1st International Conference on Interdisciplinary Arts and Humanities. SCITEPRESS - Science and Technology Publications, 2019. http://dx.doi.org/10.5220/0008562502280233.

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Rebelo, Pedro Pinto, and Robert King. "Anticipation in networked musical performance." In Electronic Visualisation and the Arts (EVA 2010). BCS Learning & Development, 2010. http://dx.doi.org/10.14236/ewic/eva2010.7.

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Ho, Wen-Shing. "Invention of Musical Notation Applying the Musical Notation to the Cinematic Art Language." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.31.

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Soraghan, Sean, Alain Renaud, and Ben Supper. "A Perceptually Motivated Visualisation Paradigm for Musical Timbre." In Electronic Visualisation and the Arts. BCS Learning & Development, 2016. http://dx.doi.org/10.14236/ewic/eva2016.11.

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Yakoupov, Alexander. "The Structure of Musical Communication." In 2015 International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icadce-15.2015.56.

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Core, Cristina, Andrea Conci, Antonella De Angeli, Raul Masu, and Fabio Morreale. "Designing a Musical Playground in the Kindergarten." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/hci2017.41.

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Reports on the topic "Master of Musical Arts"

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Berggren, Erik, ed. Master in Ethnic & Migration Studies: Migration from Ukraine. Linköping University Electronic Press, September 2022. http://dx.doi.org/10.3384/9789179295103.

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This report is made by students at the International Master’s Programme in Ethnic and Migration Studies (EMS), Campus Norrköping, Linköping University (LiU). Every Spring we give the first-year students the task to apply their knowledge in migration and ethnic relations on a chosen topic. The report is produced during few weeks by the students themselves. This is the sixth issue of REMS – Reports from the Master of Arts program in Ethnic and Migration Studies. This year we focus on the ongoing war in Ukraine and specifically its consequences for Ukrainian refugees fleeing the war, as well as on the Swedish and European reception of refugees. We cover far from all, but some important, aspects of the ongoing catastrophe this war entails for everybody involved. Despite a feeling of powerlessness and despair when war takes over and seem to block our capacity to think and act, it is even more important that intellectuals, researchers, and students, stick to the pens and insist on trying to understand, continue to analyse and investigate what is going on.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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Kibler, Amanda, René Pyatt, Jason Greenberg Motamedi, and Ozen Guven. Key Competencies in Linguistically and Culturally Sustaining Mentoring and Instruction for Clinically-based Grow-Your-Own Teacher Education Programs. Oregon State University, May 2021. http://dx.doi.org/10.5399/osu/1147.

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Grow-Your-Own (GYO) Teacher Education programs that aim to diversify and strengthen the teacher workforce must provide high-quality learning experiences that support the success and retention of Black, Indigenous, and people of color (BIPOC) teacher candidates and bilingual teacher candidates. Such work requires a holistic and systematic approach to conceptualizing instruction and mentoring that is both linguistically and culturally sustaining. To guide this work in the Master of Arts in Teaching in Clinically Based Elementary program at Oregon State University’s College of Education, we conducted a review of relevant literature and frameworks related to linguistically responsive and/or sustaining teaching or mentoring practices. We developed a set of ten mentoring competencies for school-based cooperating/clinical teachers and university supervisors. They are grouped into the domains of: Facilitating Linguistically and Culturally Sustaining Instruction, Engaging with Mentees, Recognizing and Interrupting Inequitable Practices and Policies, and Advocating for Equity. We also developed a set of twelve instructional competencies for teacher candidates as well as the university instructors who teach them. The instructional competencies are grouped into the domains of: Engaging in Self-reflection and Taking Action, Learning About Students and Re-visioning Instruction, Creating Community, and Facilitating Language and Literacy Development in Context. We are currently operationalizing these competencies to develop and conduct surveys and focus groups with various GYO stakeholders for the purposes of ongoing program evaluation and improvement, as well as further refinement of these competencies.
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