Dissertations / Theses on the topic 'Music practice'
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Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE." UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.
Full textStolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.
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ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.
Weaver, Jeffery L. "The Role of Goals and Practice Steps in Piano Practice Assignments." Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124721584.
Full textChantler, John. "No Such Array : Developing a material and practice for electronic music performance." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.
Full textVogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.
Full textStuart, Greg. "A percussionist's practice." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355798.
Full textTitle from first page of PDF file (viewed July 1, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 125-129.
Belletti, Anthony. "Trumpet Practice| Habits and Goals." Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262372.
Full textWhile spending many hours of vigorous practice, it is possible for trumpet musicians to develop bad habits which inhibit growth and discourage their inspiration. In a trumpet player’s daily life, their constant goal is to sound better in their practice routines than the day before. However, without setting realistic goals and dream goals, reaching a level of perfection can be daunting and many fundamental problems may occur such as lipping, tension, or insufficient air flow. Applying goals to everyday practice is essential for the fundamental and musical development of an aspiring trumpet player. According to Claude Gordon, practice should always be done with a goal in mind, just like constructing a tall building. First you dig the trenches. Next the forms are built. Then the cement is poured followed by the floors, sides and finally the roof. Too many students try putting the roof on before the foundation is built.
By examining the many fundamental problems trumpet players potentially face every day, I will express how to efficiently tackle these obstacles by describing how to install good practice habits while having a desired goal in mind. Second, I will discuss how humans are creatures of habit and how it effects daily practice. Alva Noe describes habits as environmental, in the sense that they are triggered by outside forces and they vanish in the absence of the appropriate environmental setting. In the case of practicing, a novice trumpet player might only practice in preparation for an event, instead of maintaining their skills every day. The methodology of trumpet pedagogy and educational studies will supply evidence-based theories on practice and observation, which will illustrate how habits and goal setting effects trumpet routines. I will also partake in field work by practicing and analyzing different trumpet method books.
DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.
Full textThis thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.
Hu, Shu-Chen 1968. "How to Practice in an Efficient Way." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
Full textShave, Thomas. "Hybridism : a practice-led investigation." Thesis, Keele University, 2013. http://eprints.keele.ac.uk/195/.
Full textGeist, Kamile. "Sources of Knowledge in Music Therapy Clinical Practice." Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1478173980933032.
Full textPrauscello, Lucia. "Singing Alexandria : music between practice and textual transmission /." Leiden : E.J. Brill, 2006. http://catalogue.bnf.fr/ark:/12148/cb40158730g.
Full textJardaneh, Nisreen. "Exploring young piano students' perceptions of effective practice strategies." Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27856.
Full textWhitmore, Gregory Xavier. "Inspired Practice| The Values of High School Band Directors." Thesis, Teachers College, Columbia University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10273951.
Full textThis study investigated the ways in which early middle to mid-career high school band directors (minimum of five years of experience in the field) operationalize their values for music education through the many musical experiences, artistic opportunities, and educational curricular goals for their students. This study sought to investigate deeper than the operationalization of high school band director values to investigate the values themselves and their inspiration as principally drawn by participating music educators. Participants described that their current set of values for their high school band programs are forged through a variety of influences, most notably music educator identity, and the influences, inspiration, and experience imprint made during their high school and collegiate music career. Other external factors that determine the values of a high school band director are influences of collegiate and high school music educators, and socialization within the undergraduate cohort.
Data analysis found that music educator values undergo an evolution throughout the career in the classroom, especially as the music educator becomes more certain of his own system of values and music educator personhood; and distances oneself from previous exemplar teachers whose influences cast a long shadow early in one’s career. This study found that the values of high school band directors are established and conflict against the realities and expectations of school administration, community influences, and the norms and expectations of expected common curricular practices for high school bands in a particular region. This study found that high school band director values are under strain from internalized pressures by the band directors themselves, as well as pressures that stem from the need to have one’s work accepted by colleagues.
This study employed qualitative methodology centered by interviews of 13 research participants. The interview methodology employed was informed by the research methods of Kvale (2007), who espouses that the participant’s everyday world should be the focus of the researcher. Elements of case study methodology were also employed to determine emergent themes, as well as compare participant responses and high school band programs across the cohort of participants.
Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method." FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.
Full textBača, Trevor. "Magic Constructivism: Desiderata of a Musical Practice." Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493325.
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Emch, Derek Z. "Pathways to the Practice of Free Improvisation." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604482209158012.
Full textChung, Hee. "Igor Stravinsky's three movements from Petrushka : an analysis of performance practice." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260196469.
Full textTheron, Talita. "Music therapy in South Africa music therapists' perceptions of training needs for current practice /." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.
Full textLoth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/578535/1/PhD%20thesis%20Helen%20Loth%20for%20ARRO.pdf.
Full textLoth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.
Full textTelesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.
Full textPrewitt, Spencer. "A Comparison of Teacher-Guided Instruction and Self-Guided Student Practice Strategies." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1362852359.
Full textLee, Chie Tsang Isaiah. "'Inbetweenness' : transcultural thinking in my compositional practice." Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34636/.
Full textTarr, Christopher J. "Practising jazz performance: An investigation into the process that underpins optimal instrumental practice in the jazz idiom." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1921.
Full textColbourne, Rick. "Practice, power and learning in UK recorded music companies." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/240608.
Full textKolthammer, Stacey C. "The Effect of Instruction on Eighth Grade Band Students' Understanding of Practice." Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1232661199.
Full textTitle from PDF (viewed on 2009-12-22) Department of Music Education Includes abstract Includes bibliographical references Available online via the OhioLINK ETD Center
Cain, Timothy. "Mentoring trainee music teachers." Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.
Full textTacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.
Full textAccompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.
Knight, Peter Harold John. "The Intersection of Improvisation and Composition: A Music Practice in Flux." Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367402.
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Doctor of Musical Arts (DMA)
Queensland Conservatorium of Music
Arts, Education and Law
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Vinci, Teresa. "Performance practice in Hungarian folk music and its relationship to the Style Hongrois." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2265.
Full textCahn, Dan. "The effects of practice procedure and task difficulty on tonal pattern accuracy." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/cahn%5Fdan/index.htm.
Full textBarişeri, Nurtuğ. "Primary music teacher education in England and Turkey." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/4287/.
Full textBucar, M. "Aesthetic negativity and choreographic practice." Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/15320/.
Full textLuebbers, Johannes. "Cheek to cheek: Transforming a compositional practice through collaboration." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2445.
Full textMessick, Emily Irene. "The Effects of Mindfulness Practice with Music Listening on Working Memory." Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3634.
Full textHarrison, William Brady II. "FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/139.
Full textPorter, Christopher. "High theory, low practice : words and music in Renaissance France." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315176.
Full textSchwalbach, Burkhard. "J.S. Bach at the coffee house : music as edifying practice." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573677.
Full textCompton, Callie Elise. "What Do You Mean, "Practice"? Theorizing the Writing-Music Connection." TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1608.
Full textNystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.
Full textBurghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice." University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.
Full textThomerson, John P. "Parody as a Borrowing Practice in American Music, 1965–2015." University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1510063658786716.
Full textScherler, Kathy L. "Elementary music teachers instructing English language learners: Reflection on practice." Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4933/.
Full textKagin, Roberta Stewart. "The Relationship Between Music Therapists' Spiritual Beliefs and Clinical Practice." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/95327.
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This study examined the relationship between music therapists' spiritual beliefs and their clinical practices. A survey was sent to 4243 members of the Certification Board for Music Therapy, using an electronic program, SurveyMonkey. There was a return rate of 32%. The survey contained two parts; Part I was the Music Therapy Questionnaire, and Part II was the Spiritual Involvement and Beliefs Scale (SIBS). Data were analyzed using a combination of Kruskal-Wallis Anova, Mann-Whitney U, and Spearman Rho correlation tests to analyze both the relationships as well as significant variations in responses between the survey questions and the SIBS scores. Research questions focused on the relationships between the music therapists' spirituality scores (SIBS) and their demographics, their reported spiritual beliefs and practices, and their clinical practices. Statistical analyses revealed significant differences in the relationship between SIBS scores and gender, age, and years of professional experience; however, there were no significant differences between SIBS scores and education level, regions of AMTA, or client populations served. Significant correlations were found between SIBS scores and music therapists' personal appraisal of their own spirituality, their use of music as a spiritual experience, the use of music in their own personal practice, and their belief in the importance of some type of contemplative experience in their own personal lives. Further statistical analyses also revealed significant correlations between music therapists' SIBS scores and the following clinical practices: 1) the role of spirituality as a sustaining force in their music therapy career, 2) their spiritual ideals as exemplified in their work, 3) attention to their own spirituality in their role as a music therapist, 4) their spiritual growth as a music therapist, 5) the classifying of their work as a spiritual endeavor, 6) their choice of music therapy as a profession. Additional positive correlations were found between music therapists' SIBS scores and the reported influence of spirituality on their choice of population, their comfort in addressing clients' spiritual needs when they are similar to their own, and their comfort in addressing clients' spiritual needs when they are different from their own.
Temple University--Theses
Alvim, Diogo. "Music through architecture : contributions to an expanded practice in composition." Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.
Full textMullen, Philip. "Challenging perceptions : community music practice with children with behavioural challenges." Thesis, University of Winchester, 2017. http://repository.winchester.ac.uk/686/.
Full textStephensen, Paul. "Designing ePortfolios for music postgraduate study : a practice-led inquiry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/35751/1/Paul_Stephensen_Thesis.pdf.
Full textBruel, Stephen. "Nostalgia, authenticity and the culture and practice of remastering music." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/129568/2/Stephen%20Bruel%20Thesis.pdf.
Full textKirkwood, Sandra Jane. "Frameworks of culturally engaged community music practice in rural Ipswich." Thesis, Griffith University, 2009. https://eprints.qut.edu.au/132103/2/132103.pdf.
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