Academic literature on the topic 'Music examiners'
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Journal articles on the topic "Music examiners"
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Susino, Marco. "Examining the Examiners: Investigating IT and Music Examination Boards." Journal of Information Technology Teaching Cases 4, no. 1 (May 2014): 49–57. http://dx.doi.org/10.1057/jittc.2014.1.
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Ross, Valerie. "External music examiners: micro–macro tasks in quality assurance practices." Music Education Research 11, no. 4 (December 2009): 473–84. http://dx.doi.org/10.1080/14613800903390774.
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Southcott, Jane. "Examining Australia: The Activities of Four Examiners of the Associated Board for the Royal Schools of Music in 1923." Journal of Historical Research in Music Education 39, no. 1 (May 12, 2017): 51–77. http://dx.doi.org/10.1177/1536600617709543.
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In the mid-nineteenth century, a system of music examinations was initiated in Britain that came to encompass the far-flung reaches of the British Empire. These examinations offered an internationally recognized system of professional and musical standards. For the next several decades the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL) maintained this extensive system of graded instrumental and vocal examinations across large parts of the globe, principally those countries that were part of the British Empire (later the Commonwealth). Both the ABRSM and TCL continued examining for many years and this article discusses the work of four examiners appointed by the ABRSM to travel throughout the Empire, with a particular focus on Australia. The year selected is 1923. This is for several reasons. By 1923 the system of traveling expert examiners undertaking examinations across the country was well established; the vicissitudes and hardships of World War I and the influenza pandemic had passed; the practice of examiners traveling long distances by boat and train had resumed. At this time the British examinations were at their height despite the establishment of a rival Australian system, the Australian Music Examinations Board. The examiners not only undertook all the examinations across the country but also were influential public figures who spoke about music education and modern music in Britain. They gave concerts and public lectures and their activities were influential because of repeated reporting in the popular press. As a historian I am interested in the history of the commonplace—those well-established and pervasive activities that are taken for granted. Learning a musical instrument and taking annual graded practical and theoretical examinations was and continues to be a commonplace occurrence in Australia.
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Binek, Janek, Markus Sagmeister, Jan Borovicka, Matthias Knierim, Bernhard Magdeburg, and Christa Meyenberger. "Perception of Gastrointestinal Endoscopy by Patients and Examiners with and without Background Music." Digestion 68, no. 1 (2003): 5–8. http://dx.doi.org/10.1159/000073219.
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Winter, Neal. "Music Performance Assessment: A Study of the Effects of Training and Experience on the Criteria Used by Music Examiners." International Journal of Music Education os-22, no. 1 (November 1993): 34–39. http://dx.doi.org/10.1177/025576149302200106.
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Byrne, Charles, Raymond MacDonald, and Lana Carlton. "Assessing creativity in musical compositions: flow as an assessment tool." British Journal of Music Education 20, no. 3 (October 29, 2003): 277–90. http://dx.doi.org/10.1017/s0265051703005448.
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This study was designed to examine any links between the concept of flow or optimal experience and the creative output of student compositions. The creative products of group compositions by university students (n=45) were rated for creativity and on a number of standard criteria and compared with scores obtained from Experience Sampling Forms (Csikszentmihalyi & Csikszentmihalyi, 1988) completed by each participant. A significant correlation was found between optimal experience or flow levels of students and the quality of their group compositions as measured by creativity ratings. Some implications for educators and learners in the music classroom are explored and a proposed self-directed learning tool is discussed. Some of the issues on the assessment of creativity in music raised by Sheridan & Byrne (2002) are also discussed. This paper highlights the subjective nature of existing assessment procedures, considering whether examiners need extended criteria as opposed to a single dimension of creativity. The formative assessment nature of the flow paradigm is also explored.
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Sparshott, Francis, Roman Ingarden, Adam Czerniawski, and Jean G. Harrell. "Music Examined." Musical Times 128, no. 1734 (August 1987): 440. http://dx.doi.org/10.2307/965012.
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Ihde, Don. "Technologies—Musics—Embodiments." Janus Head 10, no. 1 (2007): 7–24. http://dx.doi.org/10.5840/jh20071012.
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Today recorded music probably accounts for the single largest category of music listening. This essay seeks to re-frame the usual understanding of the role of that type of music. Here the history and phenomenology of instrumentally mediated musics examines pre-historic instruments and their relationship to skilled, embodied performance, to innovations in technologies which produce multistable trajectories which result in different musics. The ancient relationship between the technologies of archery and that of stringed instruments is both historically and phenomenologically examined. This narrative is then paralleled by a similar examination of the history and variations upon recorded and then electronically produced music. The interrelation of music-technologies and embodiment underlies this interpretation of musical production.
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Rustiyanti, Sri. "Musik Internal dan Eksternal dalam Kesenian Randai." Resital: Jurnal Seni Pertunjukan 15, no. 2 (March 15, 2015): 152–62. http://dx.doi.org/10.24821/resital.v15i2.849.
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Kehidupan musik pada masyarakat Minangkabau tidak terlepas adanya peranan serta fungsi yang melekat pada kesenian Randai. Melalui pendekatan etnomusikologi, tulisan ini menelaah peranan musik internal dan eksternal dalam kesenian Randai. Kesenian ini menggunakan medium seni ganda atau kolektif karena didukung oleh beberapa cabang seni antara lain tari, musik, teater, sastra, dan rupa. Hasil penelitian menunjukkan bahwa musik iringan dalam Randai terbagi menjadi dua, yaitu musik internal dan musik eksternal. Musik internal adalah musik atau bunyi-bunyian yang berasal dari anggota tubuh manusia (penari), misalnya tepukan tangan, petik jari, tepuk dada, siulan, hentakan kaki ke tanah dan sebagainya, sedangkan musik eksternal adalah bunyi-bunyian atau suara yang berasal dari alat musik atau instrumen seperti talempong, gandang, saluang, dan rabab. The Role of Internal and External Music in the Arts of Randai. The musical life in Minangkabau society is inseparable from its roles and functions which attach to the arts of Randai. Through the ethnomusicology approach, this paper examines the role of internal and external music in the art of Randai. Considering its sustainability and amendment, the musicality is the identity of Minangkabau society so that the sustainability of the music can be run in accordance with the dynamics of society today. Among the types of arts in Minangkabau, Randai is an art form that uses multiple or collective art medium for it is supported by several branches of the arts, including dance, music, theater arts, literary arts, and fine arts. The results of this study is more focused on the art of music. Musical accompaniment in Randai is divided into two, namely internal and external music. The internal music is the music or the sounds that come from the human body (a dancer), for example, clapping, finger picking, patting the chest, whistling, stomping on the ground, and so on, while the external music is the sounds emanating from the tools of music or instruments, such as talempong, gandang, saluang, and rabab.
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Morton, Melissa. "‘Where Did That Voice Come From?’." MUSIC.OLOGY.ECA 1 (September 11, 2020): 8–25. http://dx.doi.org/10.2218/music.2020.5695.
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For the last two decades, the viewers of televised talent competitions have witnessed an intriguing phenomenon—singers with voices that fail to ‘match’ their bodies. With a particular focus on female child singers, this article explores the phenomenon of the ‘mismatched girl’. Combining theories from voice studies and musicology, the article examines the depiction of the relationship between voice and body within the talent competitions. Ultimately, mismatched girls prompt journalists, fans, and musicians alike to consider fundamental questions concerning the human voice—where do voices come from and what do they mean?
Dissertations / Theses on the topic "Music examiners"
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Winter, Neal, and n/a. "A study of music performance assessment : the effects of training and experience on criteria used by music examiners." University of Canberra. Education, 1991. http://erl.canberra.edu.au./public/adt-AUC20061110.163509.
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Music is both an art and a science involving emotional
appreciation and intellectual understanding. When music
performances are assessed, appropriate criteria should be
used by examiners who appreciate the art and understand
the science. This study examined the effects of training
and experience on the judgements made by individuals who
possessed an understanding of music performance (i.e.
qualified musicians and music educators), from
observations on videotape of three piano performances (by
the same pianist).
The thirty three participants were required to observe the
videotape and complete a separate music performance
assessment (MPA)sheet for each piece, and then rank the
three pieces in order of preference. The MPA sheet
contained (a) thirty three descriptive statements, under
five headings, to which the examiner responded on a . six
point Likert scale, and (b) a section for recording an
overall impression mark, with provision for comment.
There were four examiner categories: (1) untrained and
inexperienced, (2) trained and inexperienced, (3)
untrained and experienced, and (4) trained and
experienced. The term 'experience' was applied to those
participants who had previous involvement as examiners in
any formal music performance assessment situation. The
term 'trained' was applied to those participants who
attended a short preparation course presented as part of
the study. The responses of the four categories of
examiner were tested for significant difference (.05
level) through the use of multivariate analysis of
variance with repeated measures.
One of the performances (piece 1) was recorded digitally
by computer (using MIDI and the 'Vision' program) which
provided a printout of what occurred during the
performance. A comparison of the subjective analysis of
the 'Vision' printout results with the examiner responses
for piece 1, revealed that there was a link between the
judgements made by examiners and the actual performance by
the pianist.
Results of the study indicate that (a) experience and
training effects the criteria used by music examiners in
the assessment of music performances, (b) training
influenced the examiner responses more than experience,
(c) in the 'best' performance, the effects of examiner
training and experience were negligible, and (d) in the
area of 'global' and 'specific' assessment of music
performance, all examiners divorced the two approaches,
however judgements of the untrained examiners were more
obvious in their disparity.
The results of this study suggest that the training a
music examiner receives prior to the performance
assessment session may be more important in producing
consistent and accurate reports than the amount of
previous examining experience. The criteria used by the
music examiner should be clearly presented with
appropriate dimensions for the musical instrument on which
the student performs.
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Mierowska, Jean Elaine Nora. "The ballads of Carl Loewe : examined within their cultural, human and aesthetic context." Thesis, Rhodes University, 1989. http://eprints.ru.ac.za/2310/1/MIEROWSKA-PhD(Music)-TR90-50.pdf.
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This thesis has been written in order to provide, especially for the non-German-reading musician,
a fuller picture of Loewe and his ballads than has been available up to now. This picture is developed within the literary background history of the ballad poems, and the literary, mental, and musical climate at the beginning of the Romantic era; further, Loewe's life, as revealed in
his many letters, his diaries, and his autobiography, provides the human context from which the ballads emerge as a logical extension of his personality. These earlier parts of the thesis have considerable bearing on the appreciation of Loewe's timely position in musical history, treating
as they do with the popularity of the ballad poems, the rapid expansion of the means of musical/emotional expression, and the complete acceptance of that most romantic and versatile of soloinstruments, the piano.
Loewe's temperamental affinity with the poetry of the ballads is shown to have affected his choice of subject, and in many cases the ultimate quality of the music is obviously dependent upon the strength or otherwise of his attraction.
After observations on Loewe's vocal and piano writing, the thesis treats the ballads primarily with regard to their feeling and emotional content, and investigates the musical means by which this is conveyed. Categories are suggested, and ballads of similar dramatic, pictorial, or emotional
type are discussed and compared.
Certain formal characteristics are examined, in particular Loewe's use of highly organised motivic work in certain ballads, which foreshadows its later use by Liszt, Wagner and others.
Over one hundred of Loewe's 120 ballads are dealt with, some in extensive detail~ and copious musical examples are given. The few comparatively well-known ballads receive due attention, but it was regarded as important to bring to light some of the more neglected or unknown ballads,
many of which possess great beauty and originality, amply repaying study and, still more, performance.
As a corollary, the approach of the performer is considered, and the Conclusion argues for an informed :esthetic appreciation of Loewe's ballads and their place in teday' s vocal repertoire.
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Lehman, Patty J. "An analysis of research that examines the correlation between the study of music, overall learning success and personal well-being." Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002lehmanp.pdf.
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Holmes, Ramona Adella. "A model of aural instruction examined in a case of fiddle teaching /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11219.
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Ward, Megan. "When Love Cries: Popular 1980's Love Songs Examined Through Intimate Partner Violence." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396889008.
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Schmidt, Florian [Verfasser], Birger [Akademischer Betreuer] Kollmeier, and Jesko L. [Akademischer Betreuer] Verhey. "Loudness models examined in the light of findings from loudness judgments and neural loudness correlates / Florian Schmidt ; Birger Kollmeier, Jesko L. Verhey." Oldenburg : BIS der Universität Oldenburg, 2019. http://d-nb.info/1201481341/34.
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Dumlavwalla, Diana Teresa. "Approaching the Examiner's Chair: Chronicling the Experiences of Piano Examiner Apprentices for the Royal Conservatory of Music." Thesis, 2011. http://hdl.handle.net/1807/30055.
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Examinations administered by the Royal Conservatory of Music (RCM) play a major role in the musical education of many individuals across Canada. The evaluative process needs to be a constructive one in order to ensure its positive impact on students’ musical education. Examiners who are confident and comfortable in their roles as assessors are more likely to provide this ideal environment for the students. Individuals at the dawn of their examining careers are prone to lower confidence and comfort levels due to their inexperience. Yet all music students deserve an optimal examination situation, even from new examiners. Ensuring that an examiner receives proper training will help to increase their confidence and comfort levels while assessing students.
This study examined the elements of an examiner’s education, experience and preparation which contributed to higher confidence and comfort levels as they participated in the RCM evaluative process. Ten individuals participated in surveys and interviews. Seven were recent apprentices of the examiner training program and three were senior examiners. Their experiences and insights given in a narrative form shed light on which elements of their background and training benefited them as examiners. According to the participants, varied and extensive pedagogical training, taking exams as students and intensive performance education gave them the most advantages during their early careers as examiners. Regarding the examiner apprenticeship program, participants felt that they would have benefited from more practical experience during the early classroom seminar, additional opportunities to observe students at varying performing levels and more time for discussion with their mentors.
These recommendations for background preparation and enhanced training are intended to give examiners greater confidence in their evaluative roles early in their careers, enabling them to provide constructive and effective assessments for students and their teachers.
Books on the topic "Music examiners"
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Snigurowicz, Diana. The Musical examiner, 1842-1844. Ann Arbor, Mich: U.M.I., 1992.
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Ho, Wai-Chung. Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463729932.
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Globalization, Nationalism, and Music Education in the Twenty-First Century in Greater China examines the recent developments in school education and music education in Greater China – Mainland China, Hong Kong, and Taiwan – and the relationship between, and integration of, national cultural identity and globalization in their respective school curriculums. Regardless of their common history and cultural backgrounds, in recent decades, these localities have experienced divergent political, cultural, and educational structures. Through an analysis of the literature, official curriculum documents, approved music textbooks, and a survey questionnaire and in-depth interviews with music teachers, this book also examines the ways in which policies for national identity formation and globalization interact to complement and contradict each other in the context of music education in respect to national and cultural values in the three territories. Wai-Chung Ho’s substantive research interests include the sociology of music, China’s education system, and the comparative study of East Asian music education. Her research focuses on education and development, with an emphasis on the impact of the interplay between globalization, nationalization, and localization on cultural development and school music education.
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Slaughter, Karin. Skin Privilege. Penguin Random House, 2013.
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V, Rosenberg Neil, ed. Transforming tradition: Folk music revivals examined. Urbana: University of Illinois Press, 1993.
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Rosenberg, Neil V. Transforming Tradition: FOLK MUSIC REVIVALS EXAMINED (Folklore and Society). University of Illinois Press, 1993.
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The organ question critically examined. 2nd ed. [London, Ont.?: s.n.], 1985.
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Cox, Damian, and Michael Levine. Music and Ethics. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199935321.013.145.
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This essay examines the relationship between music and ethics. Can music have a positive or negative role in our disposition toward, or performance of, right and wrong acts, duties, and virtues? Can it make a difference to us morally? Can musical experience make us better or worse off from a moral point of view? It is argued that although there is no necessary connection between listening to or appreciating music and one’s moral character, the contingent connections are many and various. Kivy’s critique of the character-building force of absolute music is examined and rejected. If music possesses epistemic and behavioral moral force, then it possesses—for some people, some of the time—the power to build moral character. If music enlarges our capacities of emotional empathy (not for everyone, or all music, and not on all occasions), then it has a role to play in building moral character.
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Bontemps, Arna. Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037696.003.0027.
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This chapter examines Negro music as well as musicians such as singers, instrumentalists, directors, and composers in Illinois in the late nineteenth and early twentieth centuries. It begins with a discussion of various Negro musicians in Illinois, from piano prodigy “Blind Tom” Wiggins and the Hampton Singers to the Fisk Jubilee Singers and choral groups known for singing spirituals. Among them were the Chicago Choral Study Club, one of the first to perform the works of black composer Samuel Coleridge-Taylor. The chapter also considers the emergence of organized music schools among Chicago Negroes, including the Coleridge-Taylor Music School and the National Conservatory of Music, as well as church choirs, musical clubs and associations.
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Greasley, Alinka E., and Helen M. Prior. Shaping popular music. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199351411.003.0017.
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Much of the research on musical shaping in performance focuses on western classical music. This chapter explores musical shaping from the perspectives of popular musicians. First, we examine the performer’s role in shaping music in live performance, drawing on recent survey research and existing work. Second, the roles of performer, producer and technology in shaping music in the recording studio are examined, including an investigation of how popular music recordings are shaped by technological practices. Third, we discuss ways in which popular music recordings may be used in performance, with a focus on DJs using the idea of musical shaping in their work. A final section summarizes the varied notions of musical shaping that arise from these perspectives and explores their implications, as well as the limitations of studying a flexible and widely applicable metaphor such as shape in a genre as diverse as popular music.
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Brown, Frank Burch. Music. Edited by John Corrigan. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780195170214.003.0012.
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Music has often been regarded as the most directly emotional of the arts and the art most intimately involved with religious and spiritual life. In the endeavor to understand music's relation to emotion and religion, a variety of approaches and disciplines are relevant. There are, for example, scientific and psychological studies that can yield insight into the character of musical and emotional response, and of music's access to the affective life. Thus, multiple disciplines are pertinent, from musicology (including ethnomusicology) and history to philosophy, psychology, and various branches of religious studies, particularly theology and comparative religions. This essay deals with historical perspectives, major theories, and current issues regarding music, emotion, and religion. It begins by considering classic and exceptionally enduring images and ideas of music, including the ancient Greek myth of Orpheus. It then considers musical ethics and metaphysics in the West from antiquity through the Renaissance. The essay also examines remaining issues and unresolved tensions about music, emotion, and religion.
Book chapters on the topic "Music examiners"
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Evans, Mark. "Creating the Hillsong Sound: How One Church Changed Australian Christian Music." In The Hillsong Movement Examined, 63–81. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59656-3_4.
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Reagan, Wen. "“The Music That Just About Everyone Sings”: Hillsong in American Evangelical Media." In The Hillsong Movement Examined, 145–61. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-59656-3_8.
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Waagen, Wenche. "Vurderingskriterier i utøvende musikk – et verktøy for pålitelig vurdering av studentenes bachelorkonsert?" In Higher Education as Context for Music Pedagogy Research, 41–64. Cappelen Damm Akademisk/NOASP, 2021. http://dx.doi.org/10.23865/noasp.119.ch2.
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At the Norwegian University of Science and Technology (NTNU), Department of Music (IMU), new assessment guidelines were implemented during spring 2019, which had consequences for the assessment of bachelor concerts. The assessment guidelines offered two substantial new tools for external examiner use in summative assessment: They contained predefined assessment criteria and mark descriptions adapted to the expected learning outcome on the main instrument. In this chapter, I attempt to find out how the new tools function in practice and whether they clarify the task for the external examiners and increase transparency. A focus group interview with six examiners who used the guidelines at IMU is used to shed light on different aspects of the summative assessment. Sadler’s theory of qualitative assessment and the twin concepts of holistic and analytic assessment are used as a basis for my discussion.
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Whitmore, Aleysia K. "Setting the Scene." In World Music and the Black Atlantic, 41–54. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0002.
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Part I examines the world music industry from the points of view of European and American industry personnel (e.g., booking agents, record labels personnel, tour managers). Chapter 1 contextualizes the world music industry in the larger music and culture industries. Since its birth in 1987, world music has been a vague category. It has encompassed an enormous variety of music: traditional and folk musics, newly composed traditional musics, and vintage and contemporary popular musics. What, then, is “world music”? Where did it come from? After providing a historical overview of world music through its emergence as a genre category in the 1980s and its growth in the ’90s, the chapter examines how culture industries have, in collaboration with consumers, developed a market for, and expectations of, ethnic “others” in Europe and North America.
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"Economists Examine File Sharing and Music Sales." In Industrial Organization and the Digital Economy. The MIT Press, 2006. http://dx.doi.org/10.7551/mitpress/3740.003.0005.
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Whitmore, Aleysia K. "Cuban Music Is African Music." In World Music and the Black Atlantic, 85–118. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0004.
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Part II examines how AfroCubism and Orchestra Baobab musicians negotiate geographic, cultural, and linguistic boundaries as they mix musics across the black Atlantic and bring their music into the word music industry. In so doing, this section shows how musicians’ experiences are intertwined with the commodities they create, and that many of us consume (and critique). This chapter explores how musicians creatively combine African and Cuban musics. In bringing these musics together, musicians (re)negotiate and (re)imagine cultural, historical, political, and economic ties between Africans, Cubans, Europeans, and Americans. Their ideas conflict, diverge, and intersect as they strategically combine musics and social meanings, idealistically connect peoples and musics across the Atlantic, and pragmatically address the limits of musical mixing and collaboration.
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"Visual Music." In Advances in Multimedia and Interactive Technologies, 463–68. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4627-8.ch024.
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Visual music projects involve visuals combined with music in various configurations. They may refer to the use of images, light, and sound, such as music and voice, including songs, and also haptic experiences, touch, and gesture. This chapter examines this century-old form of entertainment in terms of the technology options available in the successive decades.
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Harris, Rachel. "Memories of Music, Memories through Music." In Singing the Village. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197262979.003.0004.
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This chapter examines the types and functions of Sibe music. It provides biographical sketches of village musicians including Ga'altu of the Anjia clan, Guo Rongxing, and a certain Shoulintai. The chapter highlights the social functions of songs and their role as vehicles of formalised expression of human relations in the Sibe community. It describes the songs and musical activities at weddings, funerals, and calendric festivals.
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Whitmore, Aleysia K. "Postlude." In World Music and the Black Atlantic, 207–26. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0008.
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The Postlude examines how musicians, industry personnel, and audiences today reflect on the history of the industry and its future. New technologies and platforms offer exciting new tools for participating in the genre culture and for addressing the issues of (mis)representation and power asymmetries that world music has been grappling with for the last thirty years. New world music 2.0 actors are redefining world music and rejecting the label altogether. However, they also confront the same challenges as their predecessors. While they denounce “old” world music, power asymmetries, self-righteous attitudes, and colonialist associations, they too find themselves negotiating which sounds to record, how to sell them, and what values and identities these musics carry with them. This chapter argues that those working in world music 1.0 and 2.0 should speak with one another—collaborate—in order to productively negotiate these issues in the context of a changing genre culture.
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Harris, Rachel. "Sibe Music." In Singing the Village. British Academy, 2004. http://dx.doi.org/10.5871/bacad/9780197262979.003.0003.
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This chapter examines the styles of song, instrumental music, and opera of the Sibe people in demonstrate aspects of change and continuity in Sibe music during their 240-year residence in Xinjiang, China. It aims to show that contrary to the conclusions of Chinese and Sibe musicologists, Sibe music in Xinjiang has undergone a great degree of change and innovation, and has been substantially influenced by other musical styles in the region. The chapter discusses existing accounts of Sibe music and comments on the approaches and agendas that underlie them.
Conference papers on the topic "Music examiners"
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"Usage Habits in Music Streaming Applications and Their Influence on Privacy Related Issues [Research in Progress]." In InSITE 2019: Informing Science + IT Education Conferences: Jerusalem. Informing Science Institute, 2019. http://dx.doi.org/10.28945/4272.
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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In a later stage, we intend to test privacy related issues in music streaming applications and the factors that influence privacy concerns when using these services. Methodology: This is examined by using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage includes semi-structured interviews with 10 music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g. change in classification methods and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 200-250 users of music streaming applications, aiming to explore personal information management issues and privacy related issues that emerge while using these applications (e.g. privacy concerns). Currently, a pilot of the qualitative stage was issued. Findings: We found that users still rely on traditional methods of personal information management, rather than making use of the newer features available by the innovative music streaming applications. The same applies to the use of these applications as part of a social activity. In addition, it seems that the emergence of music streaming applications influenced the sense of ownership over songs in personal music libraries and made it ambiguous among music consumers. Contribution: As far as we know, this is the first academic research to investigate the issue of personal music management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications.
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Marx, Tobias, and Martin Lissner. "Thüringer Musikszene – Jugendmusikredaktionen als außerschulische musikbezogene Bildungskontexte." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.64.
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This contribution addresses a music editorial youth project in the context of extracurricular music education: Where and in which manner does musical education take place, particularly regarding music journalism? Opportunities for music journalism do not so much arise in schools or music schools but rather in actively used leisure time. The present study examines the motivation of participants in relation to their peers, host organisations, and project tutors. The concept of serious leisure perspective (Robert A. Stebbins) delivers the frame to discuss the results of the study.
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Thongrom, Pimpika. "The effect of Music Festivals on Perceived Destination Images." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10179.
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Music festival is one of the special event. It is a unique cultural event which continuously held on a particular place and time. It has been confirmed that music festivals can attract people to visit the destinations for instance Glastonbury, and the Fuji Rock. Various researches have explored the potential of festivals in forming destination image. It has not been yet explored a link between the music festivals and image formation of thedestination. The research aim is to examine the effect of music festivals on the perceived images of destinations. The objectives are to explore music festival in Thailand and to examine the perception of tourists towards destination image influenced by music festival.Music festivals in Thailand have been studied and 5 music festivals were chosen as the research settings. The documentary study was used to examine the 5 music festivals. Then the semi-structured interviews were conducted with tourists who have visited at least one of the five selected music festivals. The qualitative data are analysed using thematic analysis.The findings show that the destination images are influenced by the music festivals. The perceived images of the destination may similar to the existing images, while some may differ and transferable. The findings also show that the participants perceiveimages of the place differently during the music festival. The results can be applied to destination marketer in order to create or shape the destination images.
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Jayanti, Ova, and Rosmawati Lubis. "Murottal Music on Dysmenorrhea Pain Among Students in Madrasah Aliyah Sultan Hasanudin, South Jakarta." In The 7th International Conference on Public Health 2020. Masters Program in Public Health, Universitas Sebelas Maret, 2020. http://dx.doi.org/10.26911/the7thicph.05.05.
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ABSTRACT Background: The incidence of dysmenorrhea is more than 50% among women in every country. In the United States, an average of 60% with the highest prevalence of dysmenorrhea is among adolescent girls, 15% of whom have severe dysmenorrhea. Dysmenorrhea that is not treated properly can interfere with daily activities. Non-pharmacological handling by listening to murottal music can cause the brain to emit theta waves which cause a sense of calm. This study aimed to examine the murottal music on dysmenorrhea pain among students in Madrasah Aliyah Sultan Hasanudin, South Jakarta. Subjects and Method: This was an experimental study with one group pretest-posttest designs. Total of 32 students were enrolled in this study. The dependent variable was dysmenorrhea pain. The independent variable was murottal music. The data were analyzed using Wilcoxon Test. Results: Before the murottal music intervention, 16 students (50%) had mild pain, 12 students (37.5%) felt moderate pain, and 4 students (12.5%) felt severe pain. After the murottal music intervention, 29 out of 32 students felt pain decreased, the intensity felt was in a state of not pain to moderate pain, and it was statistically significant (p<0.001). Conclusion: The murottal music decrease the dysmenorrhea pain among students in Madrasah Aliyah Sultan Hasanudin, South Jakarta. Keywords: adolescents, dysmenorrhea, murottal music Correspondence: Ova Jayanti. Department of Health Sciences, Universitas Nasional Jakarta, Indonesia. DOI: https://doi.org/10.26911/the7thicph.05.05
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Weinberger, Maor, and Dan Bouhnik. "The Emergence of Music Streaming Applications and Its Effect on Changes in Personal Information Management and Privacy Related Issues [Abstract]." In InSITE 2020: Informing Science + IT Education Conferences: Online. Informing Science Institute, 2020. http://dx.doi.org/10.28945/4523.
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Aim/Purpose: In this exploratory study we examine personal information management within music streaming applications. Also, we investigate the sense of ownership over songs being played on music streaming applications and whether the use of these services may be considered a social activity. In addition, we explore the extent of user privacy concern in using music streaming applications. Background: This paper represents the second phase of the article titled Usage Habits in Music Streaming Applications and their Influence on Privacy Related Issues [Research in Progress] (Weinberger & Bouhnik, 2019). Methodology: The research is conducted using a mixed methodology and consists of two phases: qualitative and quantitative. The qualitative stage is a pilot which includes semi-structured interviews with three music streaming application users in order to explore the possible change in personal information management, following the emergence of these applications (e.g., changes in classification and song retrieval methods). The quantitative phase includes the distribution of closed ended questionnaires among 192 users of music streaming applications (Male – 72.9%, Female – 27.1%; Age: 18-58), aiming to explore personal information management issues and privacy related issues that emerge while using these applications. Contribution: As far as we know, this is the first academic research to investigate the issue of personal information management among music streaming applications and the also the first to use a mixed methods approach to examine digital music consumption. In addition, it is the first study that takes into account privacy related issues among the users of music streaming applications. Findings: We found major changes between personal musical information management in the past and in the present. As most of the participants (85.4%) prefer nowadays to sort musical items in playlists or not to sort them at all. Out of the participants who chose to sort in folders in the past, only 42.7% still do it at present and out of the participants who chose to sort by alphabetical order in the past, only 15.7% do it at present. Also, we found that the participants have medium sense of ownership over the songs being stored on their streaming applications (M=2.78, SD=1.46) and medium sense that those applications may be used as social activity (M=2.75, SD=1.25). Interestingly, the choice of "sophisticated" genres (e.g. Blues, Jazz or Classical) as favorite music genre predicts the perception of using music streaming applications as part of social activity (R2=0.044, p<0.05). As for privacy concern, it was found that although the participants are moderately concerned about privacy within music streaming applications (M=2.67, SD=1.15), they are willing to pay for higher privacy protection services if they will be offered to them (r=0.49, p<0.001). In general, participants were found to be moderately willing to pay for premium services (M=2.44, SD=1.01), with ad-free service (M=3.07, SD=1.54) being the highest ranked premium service. Impact on Society: The research may drive music streaming applications operators to offer premium services that provide various benefits, such as: ad-free usage, higher privacy protection or better social features, as participants are willing to pay for those features. They may also personalize their users by preferred music genres, to adapt the specific service being offered to them.
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Moustgaard, Allan J., Richard W. Jones, Benny Lassen, and Rahimullah Sarban. "The Low Frequency Characteristics of Dielectric Elastomer Acoustic Actuators." In ASME 2010 Conference on Smart Materials, Adaptive Structures and Intelligent Systems. ASMEDC, 2010. http://dx.doi.org/10.1115/smasis2010-3669.
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This contribution examines the low frequency acoustic characteristics of dielectric elastomer (DE) acoustic actuators. Both flat panel and tubular actuator geometries are investigated experimentally and compared in terms of sound level and total harmonic distortion (THD) for the frequency range of interest, 20–200 Hz. A number of operating factors are examined to determine their influence on the performance of the actuators. These include the use of a D.C. voltage bias signal as part of the applied voltage, pre-straining of the actuator and the use of a variety of mechanical bias’s on the flat panel acoustic actuator. The results provide insight into the appropriateness of the actuators for possible use as a low frequency loudspeaker for either music generation or noise cancelation purposes.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.
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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Cornelissen, Willy, and Maurício Loureiro. "Automatic onset detection using convolutional neural networks." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10446.
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A very significant task for music research is to estimate instants when meaningful events begin (onset) and when they end (offset). Onset detection is widely applied in many fields: electrocardiograms, seismographic data, stock market results and many Music Information Research(MIR) tasks, such as Automatic Music Transcription, Rhythm Detection, Speech Recognition, etc. Automatic Onset Detection(AOD) received, recently, a huge contribution coming from Artificial Intelligence (AI) methods, mainly Machine Learning and Deep Learning. In this work, the use of Convolutional Neural Networks (CNN) is explored by adapting its original architecture in order to apply the approach to automatic onset detection on audio musical signals. We used a CNN network for onset detection on a very general dataset, well acknowledged by the MIR community, and examined the accuracy of the method by comparison to ground truth data published by the dataset. The results are promising and outperform another methods of musical onset detection.
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Tislar, Kay, Zackery Duford, Brittany Nelson, Madeline Peabody, and Myounghoon Jeon. "Examining the Learnability of Auditory Displays: Music, Earcons, Spearcons, and Lyricons." In The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.029.
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Auditory displays are a useful platform to convey information to users for a variety of reasons. The present study sought to examine the use of different types of sounds that can be used in auditory displays—music, earcons, spearcons, and lyricons—to determine which sounds have the highest learnability when presented in sequences. Participants were self-trained on sound meanings and then asked to recall meanings after listening to sequences of varying lengths. The relatedness of sounds and their attributed meanings, or the intuitiveness of the sounds, was also examined. The results show that participants were able to learn and recall lyricons and spearcons the best, and related meaning is an important contributing variable to learnability and memorability of all sound types. This should open the door for future research and experimentation of lyricons and spearcons presented in auditory streams.
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Arrington, Nancy McBride. "Examining Preservice Teachers’ Self-Efficacy for Enhancing Literacy of Diverse Learners through Music." In Third International Conference on Higher Education Advances. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/head17.2017.5415.
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The sense of efficaciousness for teaching diverse learners was examined with twenty-four pre-service teachers concurrently enrolled in a junior-level Creative Arts methods course and a field experience course with placements in K-2 general education classrooms. The pre-service teachers participated in music and literacy activities in their university class, then planned and implemented standards-based music activities in literacy lessons with their young students. Both quantitative and qualitative data were collected, including a teacher self-efficacy scale, an attitude survey, written reflections, interviews, open-ended responses, and lesson plans. Results demonstrated a significant increase in the pre-service teachers’ self-efficacy in pre-post ratings analysis and indicated that this project contributed to their efficacy for meeting needs of diverse learners in the elementary classrooms. The pre-service teachers demonstrated proactive classroom management and reflected upon their students’ increased focus in class. The pre-service teachers indicated that their success with these types of projects encouraged them to plan for similar implementation with their future diverse learners, potentially contributing to a positive impact on their future performance. Additionally, this project emanated Scholarship of Teaching and Learning by encouraging self-reflection; examining and applying effective teaching strategies; and advancing the field of teacher education. Keywords: Self-Efficacy, Diverse Learners, Music Integration, Scholarship of Teaching and Learning
Reports on the topic "Music examiners"
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.
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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Winseck, D. Growth and Upheaval in the Network Media Economy in Canada, 1984-2019. Canadian Media Concentration Research Project (CMCRP), Carleton University, November 2020. http://dx.doi.org/10.22215/cmcrp/2020.1.
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This report examines the development of the media economy over the past thirty-five years. Since beginning this project a decade ago, we have focused on analyzing a comprehensive as possible selection of the biggest telecoms, Internet and media industries (based on revenue) in Canada, including: mobile wireless and wireline telecoms; Internet access; cable, satellite & IPTV; broadcast television, specialty and pay television services as well as Internet-based video subscription and download services; radio; newspapers; magazines; music; Internet advertising; social media; operating systems; browsers, etc.
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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.