Dissertations / Theses: 'Music studies'

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Stewart, Lauren Marian. "Neurocognitive studies of music reading." Thesis, University College London (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.405213.

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Ellrott, Travis Rudy Paul. "Studies." Diss., UMK access, 2006.

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Thesis (M.M.)--Conservatory of Music. University of Missouri--Kansas City, 2006.
A series of ten pieces composed for two channel audio using trumpet and viola samples. "A thesis in music composition." Jared Prost, Erin Wright, musicians ; Paul Rudy, advisor Includes compact disc. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Nov. 12, 2007. Online version of the print edition.

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Bidgood, Lee. "History of Bluegrass Music." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1087.

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Bidgood, Lee. "Bluegrass Music in History." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1085.

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Olson, Ted. "Jean Ritchie: Natural Music." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1214.

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Olson, Ted. "Let the Music Be Heard: Creating New Appalachian Music Compilations for a New Generation." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1196.

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As a performer, teacher, and scholar, I have interpreted Appalachian music in a range of venues (classrooms, festivals, restaurants, and National Park Service campgrounds) and via a variety of media (books and periodicals, websites, films, and documentary recordings). In my presentation, I'll discuss how my efforts to interpret the music (and other aspects of culture) of Appalachia in multiple roles over twenty-five years evolved into my recent work as a producer and album notes writer on several historical albums containing neglected archival recordings or forgotten commercial records of Appalachian music. What compelled me to begin to work on such documentary releases of recordings was my sense that Appalachia's music has been stigmatized or romanticized over the years because it has not been effectively listened to or deeply understood (that is, interpreted in sufficiently informed contexts). I felt that if no one else was releasing the sort of illuminating, contextualized compilations of Appalachian music that I yearned to hear, then I could help create such releases. And, happily, the releases I've worked on thus far have had an impact both within and outside the classroom, both within and outside Appalachia.

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Bidgood, Lee. "Music and Work in Appalachia." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1091.

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Schaus, Lam E. "Implementing multicultural music education in the elementary schools' music curriculum." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111519.

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The study examined the benefits of implementing multicultural music education into an elementary school's music curriculum. Conducted in a region with a culturally diverse student population, the study surveyed in-service music teachers and elementary students' parents on their perceptions of multicultural music education. Meanwhile, a set of experimental classes focused on Chinese music was taught to a diverse class of Grade 5 students to study their reactions and learning outcomes when studying non-Western music. Results indicate that (a) multicultural music needs to be better implemented in Ontario's music curriculum, (b) students receive non-Western music with enthusiasm, and (c) if taught responsibly, learning music from non-Western cultures can expand individual students' musical and cultural horizons, help eliminate stereotypes and discrimination in society, and possibly elevate the status of music education in schools.

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Bidgood, Lee. "Imagining Place in Bluegrass Music." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1102.

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Olson, Ted. "Joe Wilson: Pioneering Music Promoter." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1212.

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Bidgood, Lee. "Recent Music Scholarship." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/2762.

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Review of Recent Music Scholarship: The Music of Multicultural America: Performance, Identity, and Community in the United States, 2nd edition. Ed. Kip Lornell and Anne K. Rasmussen. (Jackson: University Press of Mississippi, 2016. Pp. 425, website and acknowledgments, introduction, notes, references cited, additional sources, audiographies, videographies, index.) Country Boys and Redneck Women: New Essays in Gender and Country Music. Ed. Diane Pecknold and Kristine M. McCusker. (Jackson: University Press of Mississippi, 2016. Pp. xviii + 280, introduction, notes, index.) Sing Me Back Home: Southern Roots and Country Music. By Bill C. Malone. (Norman: University of Oklahoma Press, 2017. Pp. x + 355, credits and acknowledgments, introduction, notes, index.)

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Zamborlin, Bruno. "Studies on customisation-driven digital music instruments." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12312/.

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From John Cage’s Prepared Piano to the turntable, the history of musical instruments is scattered with examples of musicians who deeply customised their instruments to fit personal artistic objectives, objectives that differed from the ones the instruments have been designed for. In their digital counterpart however, musical instruments are often presented in the form of closed, finalised systems with apriori symbolic rules set by their designer that leave very little room for the artists to customise the technologies for their unique art practices; in these cases the only possibility to change the mode of interaction with digital instrument is to reprogram them, a possibility available to programmers but not to musicians. This thesis presents two digital music instruments designed with the explicit goal of being highly customisable by musicians and to provide different modes of interactions, whilst keeping simplicity and immediateness of use. The first one leverages real-time gesture recognition to provide continuous feedback to users as guidance in defining the behaviour of the system and the gestures it recognises. The second one is a novel tangible user interface which allows to transform everyday objects into expressive digital music instruments, and whose sound generated strongly depends by the particular nature of the physical object selected.

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Bidgood, Lee. "Integrating Teaching: Music, Appalachian Studies, and Sustainability." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1083.

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Ideas and practices related to sustainability have become more common in academia since the foundation of the Association for the Advancement of Sustainability in Higher Education network and the growing currency of all things "green" in the business, structure, and daily life of higher education. In discussing elements of sustainability that I have incorporated into a course entitled "Ethnomusicology and Appalachia," I show how they are not part of a trend, but are foundational and transformative parts of both Appalachian studies and the study of people making music. Ethnomusicology is based in ideas of “music as culture” and as the study of musical activity, not idealized and autonomous “musical objects” (per Rice). Considering sustainability challenges notions of autonomy, which is crucial to understanding Appalachia's fluid tension (as described by Filene) between "insider" roots and "outsider" pressures. Essential scholarship on regional music-making by Jeff Titon is a model of this kind of integration, both in terms of compassionate and broad consideration of “musical sound” and in the socioaesthetic (per Kisliuk) ramifications of his conclusions. I will conclude my presentation by leading participants on an abbreviated soundwalk (per Westerkamp and Ferrington) to emphasize the importance of integrated and humane consideration in the study of music and Appalachia

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Olson, Ted. "Blind Alfred Reed: Life and Music." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1189.

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Bidgood, Lee. "Music and Dance in Appalachia." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1088.

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Cross, Jonathan Guy Evrill. "Modernism, analysis and new music : studies in the music of Stravinsky and Birtwistle." Thesis, King's College London (University of London), 1994. https://kclpure.kcl.ac.uk/portal/en/theses/modernism-analysis-and-new-music--studies-in-the-music-of-stravinsky-and-birtwistle(992330bf-9452-4fa5-a4f7-df1c5e13f453).html.

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Chen, Hui-Shan. "The Tao to the new music : studies in Anton Webern's early atonal music." Thesis, Birmingham City University, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.395172.

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Bofill-Calero, Jaime O. "Improvisation in Jibaro music A structural analysis." Thesis, The University of Arizona, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3560809.

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Improvisation is regarded as the most sublime element in the jíbaro folk music tradition of Puerto Rico. This tradition originated by the jíbaro, the simple rural farmer of Puerto Rico's heartland, involves the complicated art of improvising in décima, a ten-line poetic form, as well as improvisation of melodic lines played on the cuatro, a small guitar-like instrument. Since jíbaro improvisation is an art that is transmitted orally and involves a seemingly spontaneous act, it might seem odd to talk about a theory of improvisation within this style of music. My ethnographic research however has revealed that improvisation in jíbaro music is actually a highly structured performance practice and involves an informal theory that is based on the knowledge of archetypal patterns that generate and organize jíbaro improvisations.

Recent theories of music which establish parallels between music, language, and cognition (Lerdhal and Jackendoff; Clarke; Gjerdingen) have lead me to believe that improvisation in jíbaro music is generated by the combination of archetypal patterns that create a musical syntax. These patterns are stored in minds of jíbaro performers as cognitive schemas. My study is also based on the work of Puerto Rican scholars Luis M. Alvarez and Angel Quintero who have identified African rhythmic patterns as the generative musical source in many styles of Puerto Rican folk music. By combining theories of music and ethnographic methods, this paper will provide a greater understanding of orally transmitted cultural expressions, which utilize improvisation, as well as give insight to the cognitive processes that shape this performance practice.

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Olson, Ted. "The Celtic Influence on Appalachian Music." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1204.

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Yiu, Yan-ling, and 饒欣凌. "Rock music as cultural translation: a case study of Hong Kong rock music video." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2000. http://hub.hku.hk/bib/B30432996.

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Olson, Ted S. "African American Music in Southwest Virginia." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5514.

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Excerpt: African Americans have lived in Southwest Virginia since the early eighteenth century, and their traditions—their verbal folklore, customary folklife, and material culture—have long influenced cultural life in Southwest Virginia. African American music has been particularly impactful in the region, yet many people today are unaware of the extent of that influence.

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Olson, Ted S. "Anglo-American Gospel Music." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etsu-works/5516.

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Jennings, Mark. "Realms: A Phenomenological, Socio-Cultural and Theological-Religious Studies exploration of Musical Space." Thesis, Jennings, Mark (2009) Realms: A Phenomenological, Socio-Cultural and Theological-Religious Studies exploration of Musical Space. PhD thesis, Murdoch University, 2009. https://researchrepository.murdoch.edu.au/id/eprint/1675/.

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This thesis sets out to explore the ways people use and interpret experience of music, the divine and interaction with other people within discrete musical spaces. This exploration takes place in two sites: a Pentecostal church in suburban Perth, Western Australia, and the West Coast Blues & Roots festival, a well known music festival held annually in Fremantle, Western Australia. I have nominated these two sites as “realms” because they are spaces set up for the performance and experience of music. My primary questions about these sites relate to how people interact with music, each other and the divine within these realms. This study combines socio-cultural and theological-religious studies theories to illuminate the processes, experiences and interpretations occurring within these musical realms. This has important implications for understanding how people use and interpret music in relation to the world outside the musical realm. People use these experiences to dream and imagine the shape of ideal relationships and communities with each other and the divine presence, and to escape and transform the world outside the musical realm. In this thesis I compile data from participant observation and in-depth interviews at both sites, as well as published interviews with performers. I construct two case studies of the sites, portraying a “day in the life” of a participant in both realms. For each case study I outline ten different interpretive paradigms, five from socio-cultural theorists and five from theology and religious studies. I analyse the data using the phenomenological method, taking a component of data from the fieldwork and comparing and contrasting it with theory. At the end of each chapter I summarise the process and make some remarks relating to the implications of the study. The resulting work makes important contributions to understanding how socio-cultural studies and theological-religious studies can work together in an interdisciplinary fashion to illuminate phenomena. The study sheds light on the nature of musical “realms”, as well as “proto-religious phenomena” and “methodological agnosticism”. Further, this work presents useful contributions into the ways churches may understand and interact with spiritual experience that occurs outside of religious settings. Finally, performers and artists and community workers will benefit from the conclusions of this study on the ways in which people use music and realms to escape, transform and imagine community and society.

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Jennings, Mark. "Realms : a phenomenological, socio-cultural and theological-religious studies exploration of musical spaces /." Murdoch University Digital Theses Program, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100421.135501.

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Jansen, van Rensburg Wim Petrus. "Interpreting music consumption data published by the music industry to inform the career choices of music graduates." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/62641.

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Olson, Ted. "Catching the World’s Ear: Documenting Appalachia’s Music Traditions." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1114.

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Olson, Ted. "A Century of Heritage Guitar Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu_books/134.

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Album Notes For those who love the traditional music of Southwest Virginia, especially the many folks who make it, listening to these recordings will likely be a deeply emotional experience. Embedded within these recordings are cherished memories that connect people to the first time they ever heard a certain artist, or the first song they themselves ever learned on guitar. A Century of Heritage Guitar Music represents a shared experience of the people of The Crooked Road region - an experience that connects families and communities with their unique place and culture. Like The Crooked Road itself, this compilation is about music that is rooted in a particular place - a music that is perpetuated for the most part by barbers, farmers, luthiers, cabinet makers, and other folks who delight in the music-making at day's end. How remarkable that their music, made mostly for sharing with their friends and community, has had such a profound impact around the world. The Crooked Road is truly grateful for the opportunity to share the contributions of these amazing artists through this compilation.
https://dc.etsu.edu/etsu_books/1160/thumbnail.jpg

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Cunningham, John Patrick. "Music for the privy chamber : studies in the consort music of William Lawes (1602-45)." Thesis, University of Leeds, 2007. http://etheses.whiterose.ac.uk/21097/.

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The first half of the seventeenth century was one of the most vibrant periods in English music. William Lawes is arguably one of the finest English composers of the period, and indeed, ranks with the best of his Continental contemporaries. He gained a post among the private musicians of Charles I in 1635, a group known as the Lutes, Viols and Voices (LVV). Much of his surviving consort music appears to have been written for performance by members of LVV; nevertheless, little is known of the internal workings of this elite group. Thus, this dissertation first considers the evidence available from court records in attempting to understand the structure and activities of the LVV. The remainder of the dissertation primarily deals with William Lawes the composer. First, a detailed survey is provided of the autograph sources of Lawes's music. This provides an analysis of the sources and their functions, and offers evidence for their chronology; the development of Lawes's hand throughout the sources is also considered. Second, several studies of Lawes's consort music are presented. The studies generally focus on areas of Lawes's consort music that have received the least scholarly attention: the lyra viol trio, the Royall Consort, the harp consorts, and the pieces for two bass viols and organ. A common theme throughout these studies is Lawes's revision of existing pieces and collections of pieces in order to incorporate elaborate divisions, suggests that this was a growing consideration for Lawes in the mid-to late 1630s. The main aim of this dissertation is to understand better William Lawes as a composer, and to understand the court environment in which he composed during an increasingly turbulent political time.

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Peak, Anna. "THE MUSIC OF THE SPHERES: MUSIC AND THE GENDERED MIND IN NINETEENTH-CENTURY BRITAIN." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/96510.

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English
Ph.D.
This interdisciplinary study examines how nineteenth-century British ideas about music reflected and influenced the period's gendering of the mind. So far, studies of Victorian psychology have focused on the last half of the century only, and have tended to elide gender from the discussion. This study will contribute to a fuller picture of nineteenth-century psychology by demonstrating that the mind began to be increasingly gendered in the early part of the century but was largely de-gendered by century's end. In addition, because music was an art form in which gender norms were often subverted yet simultaneously upheld as conventional, this study will also contribute to a fuller understanding of the extent to which domestic ideology was considered descriptive or prescriptive. This work makes use of but differs from previous studies of music in nineteenth-century British literature in both scope and argument. Drawing throughout on the work of contemporary music historians and feminist musicologists, as well as general and musical periodicals, newspapers, essays, and treatises from the long nineteenth century, this dissertation argues that music, as a field, was increasingly compartmentalized beginning early in the century, and then unified again by century's end. This division and re-unification reflected changing conceptions of the mind, and coincided with the waxing and waning of domestic ideology. Analyzing a range of literary texts, both canonical and non-canonical, in this context demonstrates that music was portrayed increasingly negatively over the century as it became harder and harder to contain the increasing threat that music posed to traditional gender norms, a threat based in a view of music that began to imply mental equality between men and women. This implication was embraced by some, particularly homosexuals, and feared by others, who tried to rescue traditional norms by displacing gender ambiguity onto foreigners and Jews. Thus, the rise and fall of domestic ideology as well as end-of-century changes in the manifestation of xenophobia and anti-Semitism are related not only to industrialism and Evangelicalism and other historical events but also to changing ideas about the gender of the mind, reflected in and influenced by changing ideas about music.
Temple University--Theses

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Wendel, Evan Landon. "New potentials for "independent" music : social networks, old and new, and the ongoing struggles to reshape the music industry." Thesis, Massachusetts Institute of Technology, 2008. http://hdl.handle.net/1721.1/43197.

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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Comparative Media Studies, 2008.
Includes bibliographical references (p. 105-111).
This thesis explores the evolving nature of independent music practices in the context of offline and online social networks. The pivotal role of social networks in the cultural production of music is first examined by treating an independent record label of the post-punk era as an offline social network. This develops a useful framework for then considering the similar and distinctive ways in which contemporary independent practices are enabled and/or shaped by online social networks. Analysis is based on close, comparative readings of the structures and affordances of two case studies: the UK-based Rough Trade record label (1978 - 1991) and MySpace (2003 - present). Numerous examples of artists and their practices are drawn upon to illustrate how discursive meanings of independence are negotiated within each network. Investigated are potentials for realizing not only autonomy from the mainstream music industry, but also a range of other post-punk ideals tied to a broader independent ethos concerned with issues of access and participation, artistic control and freedom, as well as desires to engender more diverse music cultures. The intersection of offline and online networks in the context of today's dynamic, transitional music industry further provides new opportunities for more meaningful artist-to-artist, artist-to-fan, and artist-to-company/label interactions. By emphasizing the centrality of social networks, conceptions of autonomous, "do-it-yourself" music making are problematized in favor of "do-it-together" understandings that foreground cooperation.
by Evan Landon Wendel.
S.M.

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Bidgood, Lee, and ETSU Faculty Band. "Performance at Music on the Lawn concert." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etsu-works/1067.

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Olson, Ted. "Scottish Culture: Scottish and Scots-Irish Music." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1199.

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Wall, Jonathan Frederick. "Intermedia, hypermedia, and metamedia in Tarrare| Consumption Studies." Thesis, The University of North Carolina at Greensboro, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1541401.

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With my thesis, I have attempted to find a multimedia-oriented approach to musical composition that simultaneously presents a number of possible interpretations and allows for listeners to create their own. Tarrare: Consumption Studies explores a discursive space created around Tarrare, an eighteenth-century polyphagist, through instrumental music, electronic sound, spoken text, and moving image. I collaborated on many of the texts with Jensen Suther.

This thesis also examines media theories that aim to address the relationships between different facets of multimedia creation and experience, particularly intermedia (a concept from Fluxus artist Dick Higgins that examines collisions between different art forms), hypermedia (a phenomenon particularly common on the Internet where different elements are explicitly linked together to form non-linear experiences), and metamedia (a process that relies on technology to take old media and rework the material into new media).

I provide the text of the narration (Appendix A) and a score of the instrumental work (Appendix B).

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Jordan, Robert D. "Scale, arpeggio, and interval studies for the bassoon /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486397841220445.

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Olson, Ted. "The Stanley Legacy: Mountain Music Creators and Ambassadors." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/1198.

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Olson, Ted. "The National Storytelling Festival: Words, Music, and Memories." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1126.

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Excerpt: A Other acclaimed masters of the spoken word scheduled to appear at this year’s Festival include David Novak, Minton Sparks, Joseph Bruchac, Milbre Burch, and Jackson Gillman. Each year the Festival seeks to represent storytelling from a range of cultural traditions, and this year is no exception. Rev. Robert Jones and Diane Ferlatte will present stories and music relating African American experience, while Festival attendees may also see and hear performances by Yiddish storyteller Shonaleigh, Chinese American storyteller and musician Charlie Chin, and Brazilian performance artist Antonio Rocha. Several special events will be held in Anyone who shares an appreciation for A the telling of stories should note that the world’s oldest and largest festival dedicated to celebrating that ancient art will take place a short drive from western North Carolina on October 4-6, 2013.

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Olson, Ted. "'Can You Sing Or Play Old-Time Music?': The Johnson City Sessions." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1111.

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Langley, Mikaela. "Exploring Authenticity in Old-Time Music." Digital Commons @ East Tennessee State University, 2020. https://dc.etsu.edu/honors/603.

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This thesis focuses on the question of authenticity in old-time music, and the ways in which it is studied in ETSU’s Bluegrass, Old-Time, and Country Music Studies program. In an academic setting, old-time is often studied in more of a historical or anthropological context and less as a specific style of music. Arguments for authenticity in this music have been made since the popularity of such films as “O Brother, Where Art Thou?” and “Cold Mountain”, which brought a lot of outside attention to the genres of bluegrass and old-time music, as well as defining the aesthetics associated with them. Contemporary composition and performance of old-time music exists, but is not typically studied in an academic setting, or evaluated for how it adds to the musical tradition. The intention of this thesis is to validate the existence of contemporary composition in old-time music, and its authenticity within the genre.

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Broad, Leah. "Nordic incidental music : between modernity and modernism." Thesis, University of Oxford, 2017. http://ora.ox.ac.uk/objects/uuid:8a2b5571-4bbc-4bed-9b99-4b66dbd1e12d.

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This thesis argues for the centrality of incidental music in early twentieth-century music history, based on a study of Swedish and Finnish theatre music between 1908 and 1926. The central claims made are firstly, that incidental music is an integral part of music history in this period, supporting a narrative about modernity that does not focus exclusively on "high art" concert music. Second, the Nordic countries were part of a cross-continental discourse concerning modernity that did not revolve solely around, or stem from, central European capital cities such as Vienna or Paris. Third, dramatic literature was fundamental to the development of twentieth-century music in Sweden and Finland. Through an examination of productions with music by Jean Sibelius (Svanehvit, 1908, and Scaramouche, 1924), Wilhelm Stenhammar (As You Like It, 1920), and Ture RangstrÃ¶m (Till Damaskus III, 1926), the thesis demonstrates that the early 1900s in these countries were characterised by stylistic plurality. For the first two decades of the 1900s, when Sibelius composed the majority of his works, multiple modes of expression where referred to as 'modern' with no clear hierarchy between them. By the 1920s, however, 'modernism' was emerging as a term consistently used to refer to atonality and concurrent theatrical styles dominant in central Europe. Rather than adopt these stylistic languages, Stenhammar and Rangström used 'modernism' as a category to define themselves against, presenting themselves as modern but not modernist composers.

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Bidgood, Lee. "Czech Perspectives on Race and Appalachian Music." Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1097.

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Quillin, Jessica Kate. "Lyrical harmony : studies in Percy Shelley and his music." Thesis, University of Cambridge, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.613764.

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Russ, M. "Four studies in the analysis of post-tonal music." Thesis, University of Ulster, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.355857.

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Bidgood, Lee. "Seeking Information in Bluegrass, Old Time, and Country Music Studies." Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etsu-works/1093.

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Duling, Edward Burger. "The development of pedagogical-content knowledge : two case studies of exemplary general music teachers /." Connect to resource, 1992. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244060359.

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Johnson, Maya Ayana. "Harem Fantasies and Music Videos: Contemporary Orientalist Representation." W&M ScholarWorks, 2007. https://scholarworks.wm.edu/etd/1539626527.

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Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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Sörendal, Fredrik, Anders Berg, and Jörgen Fransson. "Competitiveness in the Music Industry : A study of the Swedish Music Companies." Thesis, Jönköping University, JIBS, Business Administration, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-730.

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Pohly, Linda Louise. "Welsh choral music in America in the nineteenth century /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu148767034687525.

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Adams, Brandon. "The knowledge, skills and competency requirements for music librarians in academic music libraries in the Western Cape, South Africa." Master's thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/26881.

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The objective of this study was to determine the knowledge, skills and competencies required for music librarians in academic music libraries in the Western Cape of South Africa, in order for these libraries to effectively serve their scholarly communities. In addressing this objective, the following research questions were generated: What are user expectations of academic music library services in the Western Cape?; To what extent are these expectations currently being met?; and, What are the knowledge, skills and competency requirements for music librarians in academic libraries in the Western Cape of South Africa? The study was supported generally by Core competency theory and more specifically by the Music Library Association (MLA) core competencies for music librarians. The study's research approach was qualitative and exploratory, incorporating a multiple case study design. Empirical data were collected via semi-structured interviews and focus group discussions with purposively sampled music librarians, academics and postgraduate students at the two higher education institutions in the Western Cape, Stellenbosch University and the University of Cape Town. Both these universities have music departments and music libraries. The data collected were analysed using thematic content analysis from recorded interviews and focus group discussions. The study's conclusions are centered on the main findings and discussion in the context of the reviewed literature and the theory supporting the study. It presents, based on the findings, knowledge, skills and competencies required to professionally and confidently serve the music library's scholarly community. While the study is empirically grounded in the music library and university environment in the Western Cape of South Africa, it has both practice and theoretical relevance to the broader world of music librarianship. The findings of this study to a large extent concur with the MLA core competency framework for music librarians but also updates it in terms of the modern digital information environment as well as a transformative society sensitive to cultural contextuality. It recommends to the music librarianship practice environment and contributes to the existing body of knowledge on competencies for music librarianship, an adjusted and extended MLA core competency framework (Hunter, 2002) which it hopes will be basis for further practice and research in the area of music librarianship.

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LaLonde, Kirsten M. "Teaching Music to the Hearing Impaired." Thesis, Minot State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10684252.

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Elementary music teachers often have students who are hard-of-hearing participating in their classes. Teachers need to be aware of what hearing impairments are and how these hard-of-hearing students have entered the music classroom. The present text explores assistive hearing technology, general music education for students with hearing loss, adaptations for the general music classroom, instrumental music for students with hearing loss and a brief explanation of song signing. The author attempts to better understand which strategies can be used to improve the music education of hard-of-hearing students.

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Dissertations / Theses on the topic 'Music studies'

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