Dissertations / Theses on the topic 'Music competitions'
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Michalak, Filip. "Piano Competitions : Preparation and Purpose." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.
Full textHurst, Craig Willmore. "A Nationwide Investigation of High School Band Directors' Reasons for Participating in Music Competitions." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277760/.
Full textMcKerrell, Simon Alasdair. "Scottish competition bagpipe performance : sound, mode and aesthetics." Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/4809.
Full textTheron, Susara Margaretha. "Die perserverance kersfeesorkes as verteenwoordigende voorbeeld van gemeenskasmusiek in die Wes-Kaap." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5134.
Full textAFRIKAANSE OPSOMMING: Die Kersfeesorkeste is ‟n Christelike tradisie binne die Kleurling-gemeenskap van die Wes-Kaap wat dissipline en goeie waardes by lede van hierdie gemeenskap inboesem en musiek in voorheen benadeelde en minderbevoorregte sektore van die samelewing bevorder. Die geskiedenis en agtergrond van die Kersfeesorkeste is soortgelyk aan dié van die Kaapse Klopse en die Maleierkore, wat veral prominent na vore kom tydens die Kersfees- en Nuwejaarsfeestelikhede in die Kaap. Alhoewel hierdie drie groepe ‟n nou verbintenis tot mekaar het en dikwels deur die publiek saamgroepeer word, funksioneer hulle onafhanklik van mekaar en is daar beduidende verskille in kultuur, repertoire, kleredrag, organisatoriese struktuur en samestelling. Hierdie studie fokus op die Perseverance Kersfeesorkes en ondersoek dié orkes in sy vele fasette binne die raamwerk van wat in die musiekwetenskap deesdae “gemeenskapsmusiek” genoem word. Die kenmerke van die begrip “gemeenskapsmusiek”, soos dit in die laaste 15 jaar in ander lande geformuleer is, word aan die hand van die Perseverance Kersfeesorkes getoets om uit te vind of die Perseverance Kersfeesorkes as ‟n voorbeeld van gemeenskapsmusiek beskou kan word en, omgekeerd, of die begrip “gemeenskapsmusiek” aan die hand van hierdie geval in alle opsigte gepas is of dalk aangepas moet word.
ENGLISH ABSTRACT: Christmas Bands are a Christian tradition within the Coloured community of the Western Cape that instils discipline and values amongst members of this community and promotes music within previously disadvantaged and under-privileged sectors of society. The history and background of the Christmas Bands is similar to that of the Cape Minstrels and Malay Choirs, who are very prominent during the Christmas and New Year festivities in the Cape. Although these three groups have a close connection they function independently of each other. There are significant differences amongst these groups in respect of culture, repertoire, uniform, organisational structure and composition. This study focuses on the Perseverance Christmas Band and examines this band in all its different facets within the framework of what, in current musicological terminology, is called “community music”. The characteristics of the concept of community music, as they have been formulated in other countries over the last 15 years, are tested against the Perseverance Christmas Band to determine whether the Perseverance Christmas Band should be understood as a example of community music and, vice versa, whether the concept of community music itself is valid when measured against the Perseverance Christmas Band or whether it needs adjustment or expansion.
Goodman, Kimberlee Ruthe. "The commissioned works of the National Flute Association for the Young Artist and High School Soloist Competitions." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196186122.
Full textLaufer, Gil, and Alexander Åblad. "Spirit in the Screen : The effect of CuePilot on the viewer's experience in live broadcasted music competitions." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279486.
Full textAnvändningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.
Allgeier, Anthony Joseph III. "The Works for Clarinet Commissioned by the Concours International d'Exécution Musicale de Genève: A Critical Survey and Performance Guide." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31524/.
Full textRottcher, Janette. "Die bydrae van Unisa se Oorsese Musiekstudiebeurs vir Voordraers tot die ontwikkeling van musiek in Suid-Afrika." Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/30716.
Full textDissertation (MMus)--University of Pretoria, 2011.
Music
Unrestricted
Du, Toit-Pearce Minette. "Eisteddfod in Suid-Afrika met spesifieke verwysing na die Paarl Vallei Eisteddfod." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2945.
Full textThe purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.
Remy, Jeannine Irene. "A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short"." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185401.
Full textLees, Jennifer Anne, University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." THESIS_CAESS_HUM_Lees_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/714.
Full textDoctor of Philosophy (PhD)
Hirvonen, A. (Airi). "Pikkupianisteista musiikin ammattilaisiksi:solistisen koulutuksen musiikinopiskelijat identiteettinsä rakentajina." Doctoral thesis, Oulun yliopisto, 2003. http://urn.fi/urn:isbn:9514269365.
Full textTiivistelmä Tutkimuksen tarkoituksena oli selvittää, miten solistisen koulutuksen musiikinopiskelijat rakentavat identiteettiään omaa elämäänsä kuvaavissa kertomuksissa ja mitä he kertovat merkittävien ihmisten, soitonopettajien ja soitonopiskelun merkityksestä opintojensa etenemiselle. Lisäksi tutkimuksessa selvitettiin, mitä musiikinopiskelijat kertovat osallistumisestaan musiikkikilpailuihin ja miten heidän kertomuksissaan tulee esiin kilpailuissa saatu tunnustus. Tutkimusongelmia selvitettiin narratiivis-elämäkerrallista tutkimusotetta käyttäen, ja aineistona oli viiden Sibelius-Akatemian solistisen koulutuksen opiskelijan haastattelut. Tutkimuksen kuluessa kolmea opiskelijaa haastateltiin viisi kertaa ja kahta opiskelijaa neljä kertaa. Tutkimusaineisto kerättiin vuosien 1999-2002 aikana. Aineiston analyysi tehtiin sekä horisontaalisesti (temaattisesti) että vertikaalisesti (narratiivinen analyysi). Tutkimuksessa identiteetin rakentumista tarkasteltiin sekä sosiaalisena että persoonallisena identiteettiprojektina. Identiteetin rakentumisessa pidetään osaltaan olennaisina sosiaalista vuorovaikutusta merkittävien ihmisten kanssa sekä opintosuoritusten ja kilpailujen kautta saatavaa tunnustusta. Opiskelijoiden identiteetin rakentumisessa merkityksellisiä ovatkin pitkän soitonopiskeluprosessin mukanaan tuomat kokemukset. Suomalainen soitonopetusjärjestelmä muodostaa sen keskeisen kontekstin, johon musiikinopiskelijoiden elämää kuvaavat kertomukset sijoittuvat ja jossa musiikinopiskelijoiden identiteetti rakentuu. Opiskelijat ovat aloittaneet soittamisen jo runsaasti ennen kouluikää, mutta soittaminen on ollut pitkään yksi harrastus muiden joukossa. Useissa kuvauksissa jotakuta tiettyä soitonopettajaa pidetään avainhenkilönä opintojen suuntautumisen kannalta. Tällaisen soitonopettajan johdolla, peruskoulun loppupuolella, opiskelijan opinnot ovat saaneet tavoitteellisen, ammattimaisuuteen suuntaavan käänteen. Solistisen koulutuksen opintojen alkaessa opiskelijoiden tärkeimpänä motivaationa opinnoissa on halu soittaa, ei niinkään minkään erityisen musiikin alan työtehtävän tavoittelu. Opintojen edetessä opiskelijoiden musiikki-identiteetti alkaa rakentua esimerkiksi kamarimuusikko-identiteetiksi tai muusikko-identiteetiksi. Musiikkikilpailuista on tullut nykykulttuurissa yksi merkittävimmistä sosiaalisen arvonannon saamisen välineistä musiikin alalla. Kilpailut ovat yhä huomattavampi tapa saada tunnustusta omille kyvyilleen ja parantaa asemaansa musiikkiyhteisössä. Musiikkikilpailuihin osallistuminen on tutkimuksen opiskelijoilla alkanut lukioikäisenä. Tutkimuksessa tulee esille, että kilpailujen merkitys on musiikinopiskelijoiden elämässä hyvin tärkeä mutta kilpailut aiheuttavat myös ristiriitaisia tunteita. Jotkut opiskelijat pitävät kilpailutilanteita jopa merkittävimpinä tapahtumina ammattiopintoihin suuntautumisen kannalta. Toisaalta kilpailut ja niihin valmistautuminen on voitu kokea äärimmäisen stressaavina, riittämättömyyden tunteita aiheuttavina vaiheina opintojen aikana
Wulfsberg, Joanna Christine. "Singing turkish, performing Turkishness| Message and audience in the song competition of the international Turkish olympiad." Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589575.
Full textTurkey's most controversial religious figure is the Muslim cleric and author Fethullah Gülen, whose followers have established around one thousand schools in 135 countries. Since 2003, the Gülen-affiliated educational non-profit TÜRKÇEDER has organized the International Turkish Olympiad, a competition for children enrolled in the Gülen schools. The showpiece of this event is its song contest, in which students perform well-known Turkish songs before live audiences of thousands in cities all over Turkey and reach millions more via television broadcasts and the Internet. While the contest resembles American Idol in its focus on individual singers and Eurovision in its nationalistic overtones, the fact that the singers are performing songs associated with a nationality not their own raises intriguing questions about the intended message of the competition as well as about its publics. To answer these questions, I analyzed YouTube videos of the competition and examined YouTube comments, popular websites, and newspaper opinion columns. I conclude that the performers themselves are meant to feel an affinity with Turkish culture and values, while Turkish audiences receive a demonstration that Gülen's brand of Islam is compatible with Turkish nationalism. Moreover, the competition reaches a multiplicity of publics both within and beyond Turkey. While some of these can be characterized as essentially oppositional counterpublics, I find that, in the case of the Turkish Olympiad, the dichotomy between rational public and emotional or irrational counterpublic established collectively by such theorists of publics as Jürgen Habermas and Michael Warner begins to break down.
Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.
Full textLekakul, Great. "Prachan : music, competition, and conceptual fighting in Thai culture." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26516/.
Full textHebert, David Gabriel. "Music competition, cooperation and community : an ethnography of a Japanese school band /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11402.
Full textOkorie, Chijioke Ifeoma. "Open and freemium music business models in Africa - copyright and competition consequences." Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28396.
Full textFrabboni, Maria Mercedes. "Collective management of music rights : a test of competition and industrial organisation theories." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/456.
Full textMusgrave, George. "Creativity, capital and entrepreneurship : the contemporary experience of competition in UK urban music." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53431/.
Full textKanellopoulou, Evgenia. "Test for echo : competition law and the music industries from a business model perspective." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31351.
Full textKaye, D. Bondy Valdovinos. "Same song, new dance: analyzing market structure and competition in the digital music aggregation industry." Thesis, Kansas State University, 2016. http://hdl.handle.net/2097/32644.
Full textDepartment of Journalism and Mass Communications
Angela Powers
Technological revolutions of the past century have fueled dynamic paradigm shifts across a broad spectrum of mass media industries. This study examines an innovative new market segment in the music recording industry: digital music aggregation. Digital music aggregators are music distributors that directly connect artists, any creator of musical content, to digital music vendors, online music stores such as iTunes or digital music streaming services such as Spotify. Digital music aggregator companies offer services similar to major record labels, such as mass distribution, royalty collection, and intellectual property protection. Digital music aggregators provide services to artists at all levels of prestige and experience. Essentially any artist interested in publishing music can do so using digital music aggregators. Despite their growing influence in the music recording industry, digital music aggregators have been afforded little scholarly attention. This study responds to Galuszka's (2015) call for further research on aggregator market structure and competition, proposing the following research questions: 1) how is the digital music aggregator market structured? 2) What competitive strategies do digital music aggregators employ? This study is framed by the industrial organizational model of market structure (Bain, 1968) and Porter’s (1980) theories of competitive strategy. Six in-depth qualitative interviews were conducted for this study. Results illuminate market structure and competitive strategies in the digital music aggregation industry and lay foundation for future study and industrial application within this nascent branch of the music recording industry.
Tucker, Olivia Gail. ""Everybody is Good Enough": Band Teacher Agency in a Highly Competitive Environment." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707234/.
Full textGriffin, Amanda Jane. "The amateur competition movement : shaping identity through participation in the Manx Music Festival, 1892-2005." Thesis, Durham University, 2006. http://etheses.dur.ac.uk/2941/.
Full textScannell, Daniel A. "Sound Judgment: Auditory – but not Visual – Information Reveals Musical Competition Winners." Thesis, Boston College, 2014. http://hdl.handle.net/2345/3867.
Full textPrevious research reported that people can successfully determine the winner of a musical competition when viewing a six second film clip of the performer without sound (Tsay, 2013, 2014); in contrast, when given an audio-only film clip or a clip that combined auditory and visual information, people perform at chance. Given the well-known publication bias in psychology (Ioannidis, 2005), this surprising and counterintuitive finding begs replication. In Study 1, 112 participants were randomly assigned to a sound, video, or video-plus-sound condition and were asked to select the winning musician after viewing five pairs of clips, one showing the winner and the other showing a non-winning musician. Clips were presented for 60 instead of six seconds, with the goal of giving participants more information about the performance, a modification we predicted would enhance performance in the audio and audio-visual conditions. Contrary to Tsay (2013), participants performed at chance in all three conditions. To more directly replicate Tsay (2013), in Study 2, 69 additional participants were randomly assigned to either a sound, video, or sound plus video condition and were asked to select the winning musician after viewing five pairs of 6-second clips showing the winner and another, non-winning musician. Here again the results did not replicate Tsay (2013): Participants performed significantly above chance in only one condition – when only hearing the performance and not seeing it. These results suggest that previous findings showing increased performance in rating musical performances without sound may be spurious and due to sampling error, issues in experimental design, low power, publication bias, or some combination of these. This also shows the strong importance of replication studies
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Psychology Honors Program
Discipline: Psychology
Swehla, Kelli L. "An examination of a competition set for your active high school jazz band: “Hay Burner” by Sammy Nestico, “A Child is Born” by Thad Jones, “The Next Chapter” by Patty Darling, “Uchibeng Wow-Wow” by Michael Philip Mossman." Kansas State University, 2015. http://hdl.handle.net/2097/20360.
Full textSchool of Music, Theatre, and Dance
Frank Tracz
The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music degree from Kansas State University. The product of this project was a performance at the Iowa Jazz Championships by the Xavier High School Jazz Band One (Cedar Rapids, IA), Kelli L. Swehla, director. This performance was held on March 31, 2015, at the Community Choice Credit Union Convention Center (part of the Iowa Events Center), in Des Moines, IA. The repertoire included Hay Burner by Sammy Nestico, A Child Is Born by Thad Jones, The Next Chapter by Patty Darling and Uchibeng Wow-Wow by Michael Philip Mossman. The theoretical, historical and technical analyses of this process were collected using the Unit of the Teacher Resource Guide, developed by Richard Miles and the Macro, Micro, Macro score analysis form developed by Dr. Frank Tracz. This report also includes documentation of the planning and evaluation of each rehearsal.
Ripley, Angela N. "Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.
Full textDuerksen, Jessica Anne. "“It’s festival time again”: Sounding Tensions with/in an A/R/Tographical Inquiry into Participation in Competition Music Festivals." Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32989.
Full textGroulx, Timothy J. "An Examination of the Influence of Band Director Teaching Style and Personality on Ratings at Concert and Marching Band Events." Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1650.
Full textHoffman, Kenneth Lloyd Jr. "Ohio Band Directors' Perceptions of Large Group Adjudicated Events." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397662993.
Full textSouchaud, Alexandrine. "Les pianistes amateurs en concours : mises à l’épreuve pour une reconnaissance ?" Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040090/document.
Full textThis thesis intends to analyse the experience of piano players who, in parallel with their work and private lives have decided to get involved in a very particular challenge: take part in a music competition. We will try to understand why adults, amateur musicians, practise a musical instrument on an every day life basis and what it represents for them. The reader will be then invited to follow the evolution and commitment of these amateur musicians all the way through this unique musical adventure. That is, starting from their desires to get into this kind of event up to their presentation and performance in front of examiners. We will see how taking such a competitive examination can be a multiple ordeal on social, individual and musical levels. We will also view this ordeal as a means to achieve a recognition by other people and at the same time a personal recognition
Brennan, John Michael. "Show Design and Wind Arranging for Marching Ensembles." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397561909.
Full textLundequist, Per. "Spatial clustering and industrial competitiveness : Studies in economic geography." Doctoral thesis, Uppsala : Department of Social and Economic Geography, Uppsala University, 2002. http://publications.uu.se/theses/99-2002-0429140456/.
Full textČep, Jaroslav. "Podnikatelský záměr." Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2010. http://www.nusl.cz/ntk/nusl-222538.
Full textCaillat, Maud. "Confrontation culturelle Est-Ouest pendant la Guerre froide par le biais du concours Marguerite Long (1947 à 1979)." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040121.
Full textWhat role does the Marguerite Long International Music Competition play in the context of Cold War? In other words, how important is this culture transmission vector, where two piano traditions so contrasted as the French and Soviet piano schools confront each other on the basis of aesthetic matters? The aim of this thesis is to understand the mechanism of the Marguerite Long competition and its impact on piano playing, which significantly evolves from the 1950s until the late 1970s, influenced by the successes achieved by the Soviet-Russian piano school. The apparent link between music competitions and international politics is deconstructed to put an emphasis on cultural issues, which solely determine the list of award winners. The second part of this thesis consists in examining the particularity of both piano schools, comparing them to ascertain to what extent they mutually influence each other or distance themselves. Crucial aspects of Franco-Soviet cultural exchanges are taken into account, such as the full development of underground culture in the USSR from the mid-1960s. This study was conducted on a systematic analysis of six archival holdings, notably those kept by the Fonds Long of the Bibliothèque Mahler, the Long-Thibaud-Crespin Foundation, the Center of diplomatic archives in la Courneuve and archival sources regarding the A.L.A.P. (Parisian Literary and Artistic Agency)
chen, mei-lin, and 陳美霖. "Taiwan the strategy of industrializing the music competitions." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/48676275647004079791.
Full text國立中山大學
劇場藝術學系碩士班
99
英文摘要 The main subject of this thesis is to discover the strategy of industrializing the music competitions held in Taiwan. Case study and interview key persons were ways employed to collect materials, and Delphi Method was used later for further examination. Because of the geographical limitation on this subject, the author first explained the connection between the music competitions and the culture and education condition in Taiwan’s society. In the second chapter, the urge of industrialize the music competitions was revealed from cultural, economical, and educational point of views. It was in this chapter that the author was aware music competitions, as merchandise, should have their own life cycle during the process of industrialization. Therefore the strategy corresponding to each developmental stage should be different from each other. Four examples were raised in Chapter three to display various developmental stages of music competitions; they were the International Music and Arts Competition(held at Hong Kong, partnership with Greenery Music Limited). The International Taipei Chopin Piano Competition(held by Fredric Chopin Foundation of Taipei); Yamaha National Music competition(held in Taiwan, by Yamaha KHS music co., Ltd); Asia Beat-- Yamaha Band Contest(held in Taiwan, by Yamaha KHS music co., Ltd). In Chapter four, the author suggested a model for industrializing the music competitions, 12 experts in this field were consulted in the rules of Delphi Method then. In Chapter five, final strategy were concluded, they were as the following: I The leading stage of industrialization: branding the music competition. II The developmental stage of industrialization: market the competition and set the standard Operation Procedure Process(SOP)of it. III The stable stage of industrialization: forming a supply chain of the music competition profession. IV The declination stage of industrialization: re-model the brand, for better connection of the masses and greater benefit as well.
Nzimande, Sipho Justice. "Choral competitions : a critical appraisal of their relevance to music education in KwaZulu." Thesis, 1993. http://hdl.handle.net/10530/730.
Full textA big question for the researcher is whether the current school choir competitions have positive or negative effects on the choristers and the rest of the community. Therefore the aim of this study is to look for the possibilities of enriching this choral practice or drawing everyone's realisation to the effects that exist in choral competitions. The procedure of interviews and questionnaires has been employed because not much information about this study has been investigated and preserved. The habit of competitions is retraced back from the Zulu culture, where there exists a non-musical competition. Speech and melody, harmony and rhythm is cited with the nature and African tendencies in mind. The NATAL AFRICAN TEACHERS' UNION is an organisation that has made and kept school competitions going. Four regions of NATAL have been used as a field of study. This is because each of these regions has a college, and colleges also serve as a source of information. Questions used during research have been justified with an intention of making it possible for the researcher to get information related to attitude, experience, amount of participation and the level of literacy.
CHEN, HUI-HSIN, and 陳慧欣. "A Discussion of Selected Trumpet Repertoires in the 7 International Music Competitions from 2000-2018." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/zhfv94.
Full text東吳大學
音樂學系
107
There are several international music competitions established for more than half a century, include: Internationaler Musikwettbewerb der ARD München, the Budapest Music Competition and Prague Spring International Music Competition. Despite those international competitions, there are some international competitions held just for brass instruments, which are: Jeju International Brass Competition and International Competition “Città di Porcia”. Moreover, there are some competitions conducted mainly just for solo trumpet, such as: Ellsworth Smith International Trumpet Solo Competition and “Maurice André” Trumpet Competition. This thesis discusses the repertoire chosen from above 7 international music competitions from 2000 to 2018. The repertoire is listed and sorted according to the periods of Western art music, which compares the frequency of the repertoires and the characteristics of repertoires in different timeframe according to the western classical music hitory. The thesis also examines the skills and feature of the music among these repertoires. The winners and the juries are also listed as the reference. The information for Ellsworth Smith International Trumpet Solo Competition from 2000 through 2018 was not complete due to data unavailability.
Brunt, Shelley Dorothy. "Performing community : Japan’s 50th Kōhaku song contest." Thesis, 2006. http://hdl.handle.net/2440/70157.
Full text"South African choral music (Amakwaya) : song, contest and the formation of identity." Thesis, 2002. http://hdl.handle.net/10413/3083.
Full textThesis (Ph.D.-Music)-University of Natal, 2002.
Chung, Ming-chih, and 鍾明芝. "The Selective Status and Guidance Principles of Six Frequently Chosen Pieces for Elementary-Leavel Cildren Chorus Group B in the 2002-2010 National Student Music Competitions." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/dk47vz.
Full text國立臺南大學
音樂學系碩士班
99
The purpose of this research is to realize the selective status of Frequently Chosen Pieces (FCP) for Elementary-level Children Chorus Group B in Taiwan’s National Student Music Competitions (NSMC), and to confer the guidance principles for the Six Frequently Chosen Pieces (SFCP). In the beginning of study, the author collected all 130 optional pieces from elementary-level children chorus group B of NSMC, and there were 26 pieces had been chosen repeatedly by chorus in different performance. The author also analyzed the pieces in accordance with chosen times and categories. Furthermore, the author respectively interviewed 14 instructors of the chorus, attended the NSMC and chose the FCP, to realize their guidance principles and viewpoints of the FCP. The conclusion of the research: 1. From year 2002-2010, there were six pieces had been chosen exceeding four times in NSMC Elementary-level Children Chorus Group B. They are “Trish Trash Polka,” “The Holy City,” “There is No Other Salvation,” “Nearer My God To Thee,” “Festival Sanctus,” and “Panis Angelicus.” 2. All 14 instructors emphasized that to perform the FCP the chorus’s timbre should be brilliant. 3. The instructors all pay much attention to basic vocal technique of chorus teaching. 4. The common characters of the SFCP are pleasant melody, unabridged harmony, brilliant temple, and bright style. 5. All instructors agreed that music competition brings constructive effects for chorus teaching. Although there are certain pressures both on students and instructors, it is not only a great opportunity for students to perform on the stage, but instructors also have a chance to learn from each others, and even create more pieces to learn.
Tung, Hao-yun, and 董皓雲. "A Study on the Impact of Cheer Music to the Professional Baseball League Competitions in Taiwan: Using Brothers-Elephants and Sinon-Bulls from the Second Half of the 2004 Baseball Season as Example." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/38621746062229968568.
Full text東吳大學
音樂學系
95
The history of the development of Taiwan’s baseball, as an exercise, has been more than a hundred years. However, there hasn’t been any nonverbal or any other kind of record on the cheer music during the ball games. Thus, this essay will firstly confirm, by researching and organizing the sources of baseball history, the beginning of Taiwan’s baseball cheer music. And to build up a complete system and chart for the development of Taiwan’s baseball cheer music. Secondly, this study has compiled ninety-eight songs of live cheer music from Brothers-Elephants and Sinon-Bulls’ games in Taipei area in the second half of the 2004 season (the 15th year of Chinese Professional Baseball League). Data were being analyzed and sorted in this essay based on style and performing methods. Taiwan’s baseball cheer music can now be organized and displayed systematically in front of the readers. This study, in the end, will also show the correlations between the cheer music, the fans’ interest, the excitement of the game, and team’s momentum among team members based on the survey result of 49 players from both teams and 196 fans who participated the game.
Lee, Hsi-fei, and 李析霏. "Key Success Factors of Music Ensemble : Using the Pingtung County Music Competition as Example." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88878613224814644322.
Full text國立屏東教育大學
音樂學系
99
The purpose of this research was to locate the key success factors of music ensemble through an analysis of the operation strategies, the coaching techniques, and the administrative support from the school. This research employed a qualitative research method. Techniques utilized in this research included semi-structured interview, participant observation, document analysis. The research objects include music teachers and staffs of the four winning teams of the Pingtung County Music Competition from 2005 to 2008. This research was conducted from February, 2010 to December, 2010. Data was coded and analyzed after finding themes across four cases and was presented as four stories and also a key success factors analysis. Major findings of this research were categorized as two folds: 1. The key success factors of music ensemble from both musically-talented program and the school clubs were listed as follows: (1) The characteristics and professional skills of music teachers who were responsible for training were very important to the success of the music ensembles. (2) The school principal’s belief and the support from the executives, teachers, students and parents were essential to the success of the music ensembles. (3) The educational meaning the winning teams’ members received from the process of training transcended the pleasure of being the champions of music competitions. 2. The key success factors of the music ensembles from musically-talented program and the school clubs were identified respectively as follows: (1) The professional curriculum design, the collaboration between the music teachers and the administrative teachers, the ensemble members’ experiences and music talents, and the parents’ support were key factors to the success of the music ensembles from the musically talented program. (2) The music teacher’s coaching strategies and the support from the school were key factors to the success of the music ensembles from the school clubs. Based on the research findings, several recommendations were provided for future researchers, the school board, and teachers who are coaching music ensemble.
Coles, Drew Xavier. "Perceptions of Success Among Music Professionals." Thesis, 2019. https://doi.org/10.7916/d8-fnch-ek86.
Full text"Playing to win: A cultural sociology of the international music competition." YALE UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3342731.
Full textKwak, Na-Young. "Selected repertoire from the Gillet International Oboe Competition & the International Oboe Competition of Tokyo, 1995-2005." 2006. http://hdl.handle.net/1903/9714.
Full textHsiang-Yun, Tseng, and 曾湘雲. "An Examination on The Relationship between Market Competition And Music Diversity :A Study on Taiwan’s Popular Music Industry." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/11352977973831562055.
Full text國立交通大學
傳播研究所
92
This study examines the relationship between market competition and music diversity in Taiwan’s popular music industry. A probability sampling using the top-10 hits from 1990-2003 as the population frame was adopted and 664 albums were selected for content analysis by the study. Based on the data available in Taiwan, this study identified two years, 1993 and 1996, as the changing points of market competition in Taiwan’s popular music industry. The data analysis shows that degree of music diversity increased after several music channels began broadcasting in Taiwan in the end of 1993, but music diversity was lowered after five transnational music groups take control of Taiwan’s music market in 1996. Furthermore, this study found that the major theme appearing in Taiwan’s popular music was romantic love, which accounted for more than 80% of the albums analyzed. More detailed findings was discussed in the paper.
"A Phenomenological Investigation of Competition in High School Bands." Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.40764.
Full textDissertation/Thesis
Doctoral Dissertation Music Education 2016
Huang, Wei-Pin, and 黃薇儐. "Competition Strategy in Digital Music Industry-A case of Apple Computer, Microsoft, SONY." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/56733810978274167566.
Full text國立臺灣大學
商學研究所
93
The purpose of this research is not only to analyze activities and competition between systems and corporations in digital music industry which with network effect, but also to predict the future development as well as market power switch in this industry. Based on system competition theory and co-opetition theory as framework, this research analyzed the competition strategy of Apple computer, Microsoft and SONY in each dimension, including customer, supplier, complementor and competitor side. According to the analysis result, the conclusions are as follows: DRM standard competition: there won’t be any dominant standard and Apple will hold the leading position in the short term. Taking advantage of alliance with hardware/software/online music shop, Microsoft’s DRM system will increase its installed base rapidly. Therefore, the standard competition between Apple and Microsoft is continuing. System competition: Apple who is predicted not to open its FairPlay DRM to others may have possibility to open its DRM to other “online music shops” in the long run for some strategic reasons. Microsoft keeps licensing WM DRM as more as possible to increase its installed base, and further, to accomplish Microsoft’s “digital home center” goal. SONY whose current status is inferior to Apple and Microsoft will prioritize to integrate corporation resources like motion picture, music, consumer devices. Besides, this research predicted that SONY and Microsoft may work together to rival with Apple system for both-side interests. Regarding to content suppliers, music groups will keep licensing their content to online music shops and the new-coming mobile music service providers. Further, music group will promote download music legally instead of illegal P2P downloads and file-sharing. As to the online music shop owners, they are faced by keen competition and low price pressure. To prevent or solve this problem, they need to think thoroughly about how to increase consumers’ value by forming community, value-added services and other means to differentiate itself from competitors.
Su, Li-Min, and 蘇麗敏. "Critical success factors of National student music competition of recorder ensemble in elementary school." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/prvt8n.
Full text國立彰化師範大學
資訊管理學系所
102
Recorder Ensemble Competition is one of the largest activities held by The Ministry of Education for elementary schools group competitions within annual “National Student Music Competition ". However, in the process of teachers’ training education, the training education of grouping students for such competitions is not complete and well organized, so as the instructors are not with expertise and well knowledge in group training and thus causing the situation of insufficient preparation for competitions. Therefore, the main purpose of this research is to provide a clear structure of checking critical preparation processes to instructors, and thus to improve the performance of attending such competitions, and finally to archive the ideal targets of the competitions. The method of this research is to discuss literatures and references, to use Delphi Technique and AHP, and then to summarize the evaluation items and analysis of importance of such items. The contribution of this research is to have an integrated analysis by adding the opinions from competitions’ judges, not just discussing and analyzing from the instructors’ perspectives. The result of this research shows “expertise and intelligence factor” is the most important structure, of which, instructors “capability of analysis and interpretation in music” is the most important critical success factor. The most important critical success factor of group training is “the method of cultivating basic skills of playing recorder”. “The support from school administration departments and the cooperation from school teachers” is the most important resources and supportive strength.
Calonico, Robert Michael. "Competitive jazz festivals: what motivates Northern California instrumental music teachers to participate in them?" Thesis, 2016. https://hdl.handle.net/2144/16839.
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