To see the other types of publications on this topic, follow the link: Musical factors.
Dissertations / Theses on the topic 'Musical factors'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Musical factors.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Wapper, Toni. "Factors associated with musical preference /." Title page, contents and abstract only, 1991. http://web4.library.adelaide.edu.au/theses/09ARPS/09arpsw252.pdf.
Full text
2
Howard, Sara Louise. "Exceptional musical performance : assessment of intelligence, musical aptitude, practice and empathy as contributing factors /." Title page, table of contents and abstract only, 2002. http://web4.library.adelaide.edu.au/theses/09HS/09hsh8481.pdf.
Full text
3
XU, JIN. "The factors affecting the development of the musical performance : A study on the musical performance in Shanghai." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13680.
Full textAbstract:
The development of musical theatre in china is still in its initial stage, only a few big theatres have the ability of operating musical performance, and at this time, musical theatre is only performed in few big cities in China, like Shanghai and Beijing. The the-sis focuses on the development of musical theatre in Shanghai. As an entertainment ac-tivity and also one of the performing arts, the demand for musical theatre could be affect by many factors like educational background, income and competition from other forms of entertainment activities. There were many previous studies about the performing arts which also focused on the factors like education and income, however, the level of con-tributions of these factors to the development of different forms of performing arts are different. By reviewing related previous literatures and analyzing the data collected from Shanghai Grand Theatre which bases on a meta analysis of previous studies of performing arts, the thesis explores the current situation of the development of the mus-ical performance in Shanghai and studies various factors that affect the demand for musical theatre, as a result, a deeper understanding of how factors like educational background, income, competition among forms of entertainment activities etc. affect the development of musical theatre in Shanghai wish to be provided.
4
Meinz, Elizabeth J. "When can experience reduce age differences in cognitive tasks? : a study of musical memory." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/28791.
Full text
5
Chi, Ju-Yang. "Musical Instrument Ergonomics in Violin and Piano Performance." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/30064.
Full textAbstract:
The compatibility of the instrument with human physical abilities and characteristics is one of the principles in ergonomics. Inadequate instrument set-ups and sizes that mismatch the player’s physical attributes is frequently cited as one of the risk factors contributing to the development of playing-related musculoskeletal disorders (PRMDs) in violin and piano performers. For violinists, playing in a sustained asymmetric posture is inevitable and it has been observed that the left upper limb, which is the side that supports the instrument, is predominantly symptomatic in upper string players (violinists and violists). The use of adaptive accessories, such as a chin rest and/or a shoulder rest, has been proposed to be a way to improve the interface between the instrument and the player. For pianists, a “one-size-fits-all” keyboard has been the available industry standard with respect to the size of the keyboard in modern piano manufacturing, teaching and performing. However, recent demographic evidence proposes that this standardised piano keyboard discriminates against many pianists who have relatively smaller hand sizes. Controversies persist in best methods to ergonomically fit the instrument to the player among players and pedagogues of both these instruments, and no reviews to date have been conducted to determine whether a collection of evidence to support ergonomic ideals exists. This doctoral thesis presented the synthesis of work on investigating ergonomics in violin and piano performance and addressing knowledge gaps regarding optimising the interface between the instrument and the player.
A systematic review of this topic was undertaken in Chapter 2. The results revealed that only scarce evidence with heterogeneity and low quality of methodology available on instrumental ergonomics in violin and piano performance. An observational study on interaction between hand span and different sizes of keyboards on muscle activity in pianists was conducted in Chapter 3 to investigate the biomechanical responses under ergonomic modifications, while hand size was identified as a potential risk factor for PRMDs (Chapter 2). The results of this experiment showed less muscular loads in pianists while they were playing on a matched size of keyboard regarding their hand spans, suggesting a compatible interface between the player and instrument can enhance performance biomechanics.
Chapter 4 and 5 presented an interview study conducted to explore the factors that contribute to optimising the instrument-player interface in violin playing while the lack of comprehensive understanding of violin set-up was shown in Chapter 2. In Chapter 4, interview data was extracted in a way to present how the violin instrument should fit to a player. The results suggested there were fundamental inconsistencies in the use of physical elements (e.g. violin accessories and position the violin instrument) and the attitudes and beliefs towards instrument set-up while participants held onto different sources of knowledge. On the other hand, comfort and budget were commonly seen as the considerations in selecting the ergonomic set-up. Chapter 5 presents the findings from the aspect of how violinists should fit with their instruments, showing the biomechanics greatly varies but having a neutral posture may be the common aim in violin playing. It is also revealed the phenomenon that violinists tended to prioritise musical performance over monitoring their own posture and movement. Results in both Chapter 4 and 5 showed teacher plays an important role in either pedagogically providing ergonomic suggestions or working with body health professionals on improving a performance interface in violinists, and the process can be time-consuming.
The data presented in this thesis showed the complexity of optimising the interface between the musical instrument and the player. From the investigations on violinists and pianists, interdisciplinary collaborations and crossover trainings in the professionals are recommended so that musicians are able not only to be trained with adequate ergonomic supports but to sustain their desirable musical outcomes. Future research building upon the findings of this thesis will further facilitate the inclusion of ergonomics in the industry of musical performance.
6
Moreno, Sala María Teresa. "The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.
Full textAbstract:
The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.<br>The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
7
Hutchins, Sean. "Implicit memory for music : factors affecting musical priming and their time courses." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.
Full textAbstract:
This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
8
Newsome, R. "The 19th century brass band in northern England : musical and social factors in the development of a major amateur musical medium." Thesis, University of Salford, 1998. http://usir.salford.ac.uk/2026/.
Full textAbstract:
This thesis examines the development of the amateur wind band in Britain during the nineteenth century, with special reference to the increasing domination of the brass band, particularly in northern England. After a preliminary review of British amateur wind bands generally, the growth of the brass band competition is investigated, showing how the contesting bands were initially concentrated in Yorkshire. The effects of industrial sponsorship and the emergence of the volunteer movement from 1859 are examined, along with the consequent shift in the concentration of bands from Yorkshire - mainly to Lancashire but also, to a limited degree, to other parts of the north and to the north midlands. Instrumentation and repertoire are also discussed, along with some collections of early band music. Part 2 of the thesis looks specifically at developments during the final quarter of the century, first of all in terms of repertoire, then through some of the personalities involved - conductors and players - before investigating the roles played by the best of the bands. Finally, having shown how a regional brass band movement grew from a nationwide net-work of wind bands, the thesis looks at ways in which the fledgling brass band movement began to spread, paving the way for the national and, indeed, international brass band movement of the twentieth century.
9
Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
Full textAbstract:
This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
10
Hickok, Stephen Clyde Walls Kimberly C. "The relationships of parental involvement, motivating factors, and socioeconomic status to high school all-state choir and band membership." Auburn, Ala, 2009. http://hdl.handle.net/10415/1587.
Full text
11
Manners, Bianca. "The critical success factors for managing the visitor experience at a major musical event / Bianca Manners." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8440.
Full textAbstract:
With numerous artists coming to South Africa, the event industry is becoming congested with competition. This makes the production of a memorable visitor experience to events particularly challenging for the management of the event. Various aspects are required to occur when managing an event, and these contribute to the success and memorable experience of visitors. These aspects can either be controlled or uncontrolled by management. To ensure a successful event and memorable experience for visitors, event managers have to consider all of the various aspects that can be controlled within the event organisation when hosting a major music event. It is therefore important for management to ensure that the controllable key management aspects, also referred to as Critical Success Factors (CSFs), are implemented effectively and efficiently to ensure a memorable visitor experience.
However, even though these management aspects (CSFs) may be familiar to event managers, the significance of what visitors regard as important concerning those aspects that would ensure a memorable visitor experience is, as yet, undefined. In addition, according to available literature, CSFs differ between the different events and different tourism organisations. Thus, CSFs identified at one event to ensure the successful management of a memorable visitor experience cannot be used at other events. Hosting major music events at various locations can be even more challenging as visitors attending major music events at different locations are a non-homogeneous market and so regard different aspects in different lights. Therefore, it is evident that the CSFs identified with regard to what visitors at one venue will consider as important will differ from those regarded as important at another venue, even when it is the same performer at each venue. Thus, it became critical to seek answers to the questions of what visitors to a major music event regarded as important CSFs and how did the importance of these CSFs differ between location and location? Therefore, the purpose of this study became the determination of the CSFs for managing the visitor experience at major music events in South Africa. The year 2011 was the first time that world-famous Neil Diamond had performed in South Africa. Neil Diamond performed four concerts at different locations (Johannesburg’s FNB stadium, Durban’s Moses Mabhida Stadium, Cape Town’s Greenpoint Stadium and at Port Elizabeth’s Nelson Mandela Stadium). This was the first time major music events had been held at these venues where one performing artist performed at all four different locations (cities). Thus, this event was the ideal opportunity to investigate. In order to realise the goal of the research, surveys were conducted at the four Neil Diamond concerts held, respectively, in Johannesburg (1 April, 2011), Durban (5 April, 2011), Port Elizabeth (8 April, 2011) and Cape Town (11 April, 2011) where, altogether, 1820 questionnaires were administered.
The purpose of the first article was to determine what visitors at a major musical event regarded as critical management aspects, or as critical success factors (CSFs), for a memorable and satisfactory visitor experience. This was to aid major music event managers with information they could use to improve and ensure memorable visitor experiences in the future. A factor analysis was performed to determine the CSFs. Six factors were revealed, being General Management; Souvenirs; Marketing; Venue and Technical aspects; Accessibility and Parking; and Amenities and Catering. General Management, Venue and Technical aspects and Marketing were regarded as the most important CSFs for visitors to a major music event. It was subsequently confirmed that CSFs differed from one event to another. Thus it became clear that one set of CSFs cannot be used across each venue for events. By determining the CSFs, and through successfully managing these factors, major music events will ensure the retention of long term visitor goodwill, and so will remain competitive and sustainable.
Neil Diamond presented four concerts at four different locations, The purpose of the second article was to determine the impact that location makes to the visitor experience at a major music event. Two-way frequency tables and Chi-square tests as well as ANOVAS and Turkey’s multiple comparisons were used to determine the differences between the four locations. Statistically significant differences were found, based on demographic, behavioural variables and motivational factors. Determining the effects these differences have provided major music event managers with superior knowledge in order to develop and manage future concerts at the differing destinations and locations. This research also help management to create a memorable visitor experience and so foster the promotion of future events more effectively to the target audiences, as well as potential sponsors. This specificity can also enhance bid documents for organisations and locations aiming at hosting major music events.
This research revealed six critical success factors at a major music event. These CSFs can be used to enhance the visitor experience. However, it was also found that one set of CSFs cannot be used for every event as different locations regard different CSFs as being more important than others. Since major music events are often held at more than one location, it becomes critical to differentiate each location as the visitors to the various locations cannot be seen as homogeneous and so will have different needs and expectations. Thorough and informed knowledge of what is required for visitor satisfaction will not only ensure an improved event, but will enhance the visitor experience at such an event.
This was the first time research was performed at major music events in South Africa that revealed the profile, motives, CSFs and spending behaviour of visitors to these events. Research not only provided information concerning the CSFs needed to manage the visitor experience at a major music event, but also provided an overall perspective of what visitors regard as important for a memorable visitor experience at four different geographic destinations hosting the same artist. This research contributes to the literature concerning the management of major music events and concerning the creation of memorable visitor experiences at these events.<br>Thesis (MA (Tourism Management))--North-West University, Potchefstroom Campus, 2012
12
Kung, Hsiang-Ning. "Cultural Influence on the Perception and Cognition of Musical Pulse and Meter." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494228392604585.
Full text
13
Halstead, Jill. "The woman composer : a study of factors affecting creativity and the gendered politics of musical composition." Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309947.
Full text
14
Banks, Jy-Perry. "Voices of the Australian Tuba: A consideration of factors influencing it changing sound and musical status." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/9495.
Full textAbstract:
Voices of the Australian Tuba: A consideration of factors influencing its changing sound and musical status. The tuba has been used in Australia for more than a century, yet little has been documented regarding its use. In this thesis, archival material has been used to document the tuba’s entry into Australia and to track prominent stages of its early use through a variety of ensembles that include Service bands, Town and Industrial bands, the Salvation Army Band and early Australian orchestral endeavours. The evolution of the orchestral low brass sound aesthetic in Australia has been investigated and the impact of the British Brass Band tradition has also been assessed. Primary data generated through the collection of interviews was used to assess the current musical status of the tuba in Australia and to identify elements that led to a change in our orchestral low brass sound aesthetic, between 1974 and 2012. The experiences of nineteen musicians and composers who represent Australia’s seven professional orchestral tubists, postgraduate tubists, brass composers and musicians from the related orchestral brass community were documented in these interviews. The interviews addressed early pedagogical and performance experiences; orchestral experience and influences; reasons for the change from the traditional British orchestral low brass sound aesthetic to an American orchestral low brass sound aesthetic; overseas study practices/benefits and career options; composer’s views, inspirations and composition process as well as the promotion and future musical status of the tuba in Australia.
15
Masters, Jane. "An investigation into the nature of musical creativity and some of the factors that affect its expression and perception in musically trained and untrained individuals." Thesis, Kingston University, 2009. http://eprints.kingston.ac.uk/20259/.
Full textAbstract:
Creativity and its expression in music are central to the essence of what it means to be human (Hodder, 1998; Blacking, 1995), but are characterised by an elusiveness and multifaceted complexity that seem to both defy definition (Torrance, 1988; Netti, 2000) and hinder investigation (Hargreaves, 1986). Their function depends on powerful cognitive mechanisms which enable the individual to hold, shape, refine and reflect on ideas, for the most part unconsciously (e.g. Fauconnier & Turner, 2001; Boden, 1998; Pressing, 1988). This study has sought to appropriate such processes in order to access the individual's most fundamental capacity to be musically creative, employing the essentially intuitive, unmediated and universally accessible medium of vocal improvisation. Thus, 40 musically 'trained' and 'untrained' participants vocally improvised a melody based on a given chord scheme referent. These were transcribed, rerecorded instrumentally and randomly ordered on a CD from which seven expert and three non-expert judges could aurally evaluate their creative value (Amabile, 1982). The total scores of the expert and non-expert evaluation groups were separated and subjected to statistical analysis, in relation to the experience of formal instrumental (FIMT, Seddon & O'Neil, e.g. 2001) and singing (FST) tuition, highest and lowest ranking, repeated improvisational attempts, gender and age. The highest and lowest ranked improvisations were identified and subjected to musical analysis from their transcriptions. In relation to the musical content of the improvisations, the results demonstrated that the vast majority of musically untrained and trained participants were able generate essentially coherent melodies, many possessing quite detailed melodic, rhythmic and structural elements. There was also clear evidence of a propensitya climax and place it at, or just after, 'two-thirds' of the way through a melodie. In relation to the evaluations, both expert and non-expert evaluator groups produced some significant results although the often marked differences between them indicated that differing perceptual capacities and conceptual understandings were in operation. Thus the non-expert evaluations possessed a different kind of validity to those of the experts, based on more global and emotional criteria than the experts' more cognitive and specific focus. Both experts and non-experts agreed that age, and thus experience in a culture, was a significant factor in the ability to be musically creative. The effect of training was addressed by correlating the mean total ratings of the improvisations of participants with and without FIMT and FST, for which the expert and non-expert evaluation results showed different patterns. Thus while the non-expert results indicated a significant interaction between instrumental and singing training, those of the experts suggested that neither form of training had an effect on the production of creativity, as all four measures were remarkably similar.
16
King, Tyler C. "Factors influencing adults' participation in community bands of Central Ohio." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243881978.
Full text
17
Vinke, Louis Nicholas. "Factors Affecting the Perceived Rhythmic Complexity of Auditory Rhythms." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1269042162.
Full text
18
Martin, Stephanie Parke. "An exploration of factors which have an impact on the vocal performance and vocal effectiveness of newly qualified teachers/lecturers." Thesis, University of Greenwich, 2003. http://gala.gre.ac.uk/8761/.
Full textAbstract:
The aim of this project was to explore whether voice care and development, prior to qualification, could mitigate potential vocal attrition in newly qualified teachers/lecturers within their first year of teaching. A specific focus of the research was to see if any causative relationship could be seen to exist between vocal change, specifically change in vocal quality, and the exigencies of the teaching role. Vocal quality in this instance is defined as the way in which individual voices demonstrate discrete features of pitch, resonance, degree of breathiness and clarity of the note. The sum of these features is perceived as voice/vocal quality. The study sought to gain a deeper knowledge of the vocal demands of the teaching role with a particular focus on the experiences of newly qualified teachers and lecturers. It was hoped, that information gained as a result of the study, would add to the current canon of knowledge regarding the vocal demands on teachers as a feature of their professional role. As a result of the study a number of important elements were identified, some of which go beyond the original focus of the research but arise from data gathered doing it. A number of recommendations are made which, it is hoped, will inform future working practice and increase vocal health within the teaching profession.
19
Burns, Kimberly Jo. "The effect of two methods of music instruction on factors in the listening experience and musical preference of fourth- and fifth-grade students." Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187228.
Full textAbstract:
The purpose of this study was to examine the effects of two methods of music instruction on two factors in the musical listening experience, identified as music description and music identification, and musical preference of fourth- and fifth-grade students. The listening experiences consisted of one which utilized descriptive writing in the music lesson and one which utilized participatory listening activities such as maps for guided listening, worksheets, and call charts. Also examined were the interactions of gender, grade level, and degree of writing presence in the regular classroom. Seven-hundred and eleven students from thirty-six intact classes in six elementary schools of three school districts were chosen for the study. The intact classes were randomly assigned to one of the two methods of instruction for a seven week experiment. The study utilized a pretest/posttest two group experimental design to answer 10 research questions. Repeated measures MANOVAS, t-test of independent samples, and two-variable correlation tests were conducted to measure mean differences, interactions, and possible relationships in the data. Results of the study indicated significant differences between method of instruction and the variables of music description and music identification. Method of instruction did not influence musical preference. Also significantly different were students' scores for music description, music identification, and musical preference between the participating 23 classroom teachers. Method of instruction, grade level, degree of writing presence, and gender did not significantly interact collectively with music description, identification, or musical preference although some areas interacted with these variables individually. Significant interactions were found between music teacher and method with regard to students' scores on tests of music description, music identification, and musical preference. Two correlational tests resulted in values that indicated no relationship between the variables of musical preference and description and musical preference and identification. However, the non-relationship of music description and musical preference was non-significant while music identification and musical preference were significantly non-related.
20
Condessa, Janaína. "A motivação dos alunos para continuar seus estudos em música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/32473.
Full textAbstract:
Esta pesquisa foi desenvolvida dentro da temática sobre motivação para aprender música e teve como objetivo geral investigar a interação entre os fatores individuais e ambientais que motivam os alunos para continuar seus estudos em música fora da escola. Segundo a literatura, os fatores individuais referem-se às crenças, às percepções e às características pessoais dos alunos, enquanto os fatores ambientais relacionam-se às experiências em determinado local e momento de vida, bem como com as interações estabelecidas com as pessoas desse ambiente. Como objetivos específicos, esta pesquisa verificou o papel do ambiente (pais, família, professores, pares e contexto escolar) e investigou os fatores individuais (metas e autoconceito) que possuem relação com a motivação para continuar os estudos em música fora da escola. O referencial teórico adotado foi o modelo de motivação em música (HALLAM, 2002, 2005, 2006), pois contempla a interação entre os dois tipos de fatores: individuais e ambientais. O método utilizado foi o estudo de entrevistas, com alunos das séries finais do ensino fundamental que possuíam aula de música na escola desde as séries iniciais e que optaram por estudar música fora da escola após a quinta série. Apoiada na literatura da educação e da educação musical, esta pesquisa justifica-se pela possibilidade de compreender tanto os diferentes fatores envolvidos na interação entre o indivíduo e o ambiente durante a aprendizagem musical quanto a maneira pela qual esses fatores incentivam o aluno a continuar os estudos em música. Os resultados apontaram para uma forte relação entre os fatores individuais e ambientais e para a correspondência entre a motivação para aprender música dentro da escola e a motivação para continuar os estudos em música fora da escola. Esses resultados poderão colaborar para o aprimoramento pedagógico dos professores de música, além de permitir reflexões e oferecer subsídios que possam melhorar a motivação dos alunos para aprender música, dentro e fora da escola.<br>This research is about motivation to learn music. Its general aim was to investigate the interaction between individual and environmental factors which motivate students to continue their studies in music outside school. According to literature, individual factors refer to students’ beliefs, perceptions and personal characteristics, whilst environmental factors are related to life experiences in some places and at some times, as well as the interaction with others. The specific aims to this research was to verify the role of environment (parents, family, teachers, peers and school context), as well as investigate individual factors (goals and self-concept about abilities) in students’ choice in continuing to learn music outside school. The theoretical framework adopted was the model of motivation in music (Hallam, 2002, 2005, 2006), because it considers the interactions between individual and environmental factors. The method chosen was the interview study, with middle school students who attended music classes at school since first cycle of fundamental education, and opted to study music outside school after the fifth grade. Based both on the education and the music education literature, the reason of this research is the possibility of understanding not only the different factors involved in the interaction between the individual and the environment during the musical learning, but also the way these factors motivate the student to continue studying music. The results of this research revealed a close link between individual and environmental factors. Moreover, data showed the relation between motivation to learn music inside school and motivation to continue music outside school.
21
Myer, Bettye J. "Relationships among selected measures of auditory foreign language aptitude and achievement, musical aptitude and experience, prior academic achievement, sex, and handedness factors at the secondary school level." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273002085.
Full text
22
Bogner, Ryan. "A study of the factors that influence compositions of common texts with an emphasis regarding the text of Te Deum settings by Antonín Leopold Dvořák and Franz Joseph Haydn." Thesis, Kansas State University, 2011. http://hdl.handle.net/2097/9096.
Full textAbstract:
Master of Music<br>Department of Music<br>Joshua Oppenheim<br>Julie Yu Oppenheim<br>The Te Deum chant began in the Roman Catholic Church in prayer, and like many other psalms used in the Mass, it has evolved into a concert piece with settings composed for coronations, military victories, and other festive occasions. This author has identified two significant settings of this text by Joseph Franz Haydn and Antonín Leopold Dvořák for this discussion to study how common factors (primarily a common text) influence their compositions.
Chapter I provides the purpose of the study, a brief description of related research, description of the appendices, and analytical criteria for examining the Te Deum settings.
Chapter II presents a study of the ancient Te Deum psalm and its text. Topics for discussion include a brief overview of the history of chant. In regards to the Te Deum, further studies are included on its history, uses within prayer, the text, melody, and other uses of the Te Deum.
Chapter III contains an in-depth analysis of the Haydn Te Deum (HXXIIIc:2) and the Dvořák Te Deum (Op. 103, B176, [Op. 93, Op. 98]). Analytical criteria for examining these settings consist of: a brief biographical sketch along with each composers compositional characteristics and reasons for commissioning this piece; discussions on general characteristics, structural and formal design, themes, melodic/harmonic characteristics, rhythmic/metrical/tempo characteristics, articulations, dynamics, texture, performance, pedagogical, and conducting considerations.
Chapter IV summarizes general trends in the usage of the text of Te Deum. Information for this final chapter is derived from the in-depth analysis, the ancient history of the Te Deum, and other settings of the Te Deum text examined in sources similar to this document. The findings contain summaries of the musical elements listed above as well as general and specific commonalities of textual influence between the selected Te Deum settings.
Appendix A provides the complete text of the Te Deum psalm with English translations and melody.
Appendix B provides a score analysis of Te Deum (HXXIIIc:2).
Appendix C provides a score analysis of Te Deum (Op. 103, B176, [Op. 93, Op. 98]).
23
Somma, Antonio. "Acoustique de la pratique musicale sur instruments historiques : étude transdisciplinaire de l’interprétation historiquement informée au piano." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUS069.
Full textAbstract:
Cette thèse est motivée par la volonté de repositionner la facture instrumentale dans l’histoire de la technique pianistique. À l'intersection de l'acoustique musicale et de la musicologie, une approche unifiée est proposée, tirant parti de la tendance des deux disciplines à confronter plus directement leurs démarches de recherche avec la pratique musicale. En acoustique musicale, les propriétés mécaniques et vibro-acoustiques particulières des pianos historiques, appelés par convention fortepianos ou pianofortes pour les distinguer de leurs homologues modernes, suscitent un intérêt croissant. Cependant, la description physique de la production sonore nécessite de mettre en lumière le rôle indissociable des musiciens. Sur le plan musicologique, les performance studies examinent les styles d’interprétation et les techniques de jeu du point de vue de leur histoire. En complément de leurs observations, ces études peuvent s’intéresser à la démarche authentiquement artistique à travers laquelle l’interprétation historiquement informée ou HIP (Historically Informed Performance) a revisité l’exécution musicale sur les instruments historiques. Parmi les sources mobilisées par la HIP musicale pianistique, les fortepianos ont occupé historiquement une place centrale, étant perçus comme indiquant eux-mêmes le chemin pour la reformulation de leur jeu. En revanche, cette thèse met les pianistes au centre de l’étude, s’articulant autour du piano mais ne le considérant que du point de vue de leur interaction. Des discours de pianistes sont recueillis et analysés, montrant que le médium de cette interaction est pour eux le geste musical. Cet objet cognitif rassemble, d’une part, l’action des musiciens en situation de jeu, qui incarne leurs intentions musicales, et, d’autre part, leur perception, qui en est informée. Les actions ancillaires de pianistes en situation de jeu sont capturées et analysées, mettant en évidence la prévalence de comportements idiosyncratiques sur ceux qui dépendent de l’instrument joué, notamment au niveau de l’angle formé par le poignet. Ces observations ouvrent une nouvelle voie dans l’étude de l’interprétation musicale basée sur la signature cinématique de chaque instrumentiste, reflet de sa conception interprétative singulière. Finalement, une analyse mécano-acoustique de pianos est conduite, soulignant les avantages d’une intégration explicite dans son élaboration des paramètres de contrôle instrumental, notamment la masse engagée pour enfoncer les touches. Cela permet d’associer l’influence de la conception que se fait l’instrumentiste du rapport entre le style d’interprétation de l’œuvre et la technique de jeu de l’instrument<br>This thesis is driven by the desire to reposition instrumental craftsmanship within the history of pianistic technique. At the intersection of musical acoustics and musicology, a unified approach is proposed, leveraging the trend of both disciplines to directly engage their research methodologies with musical practice. In musical acoustics, the mechanical and vibro-acoustic properties of historical pianos, conventionally referred to as fortepianos or pianofortes to distinguish them from their modern counterparts, are of growing interest. However, the physical description of sound production must highlight the indispensable role of musicians. From a musicological perspective, performance studies examine interpretation styles and playing techniques from a historical viewpoint. Complementing their insights, these studies can address the genuinely artistic approach through which Historically Informed Performance (HIP) has revisited musical execution on historical instruments. Among the sources employed by pianistic HIP, fortepianos have historically held a central position, being seen as guiding the reformulation of their playing. However, this thesis centers on the pianists, focusing on the piano but considering it primarily through the lens of its interaction with them. Pianists' discourses are collected and analyzed, revealing that the medium of this interaction is the musical gesture. This cognitive construct encompasses, on one hand, the actions of musicians during performance, embodying their musical intentions, and on the other, their perception, which is informed by these actions. Ancillary actions of pianists during performance are captured and analyzed, highlighting the prevalence of idiosyncratic behaviors over those dependent on the instrument played, particularly concerning the angle formed by the wrist. These observations open a new avenue in the study of musical interpretation, based on the kinematic signature of each instrumentalist as a reflection of their unique interpretative conception. Finally, a mechano-acoustic analysis of pianos is conducted, emphasizing the benefits of explicitly integrating instrumental control parameters into the study, particularly the mass involved in pressing the keys. This approach allows for an association between the instrumentalist's conception of the relationship between the work's interpretative style and the instrument's playing technique
24
Neves, Margarida Alexandra Teixeira. "A performance musical: factor de motivação no estudo do instrumento." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/7412.
Full textAbstract:
Mestrado em Ensino da Música<br>Este projecto teve por objectivo primário averiguar a influência da realização de
momentos performativos frequentes na motivação dos alunos para o estudo do
instrumento musical, analisando também o seu impacto na aquisição de
competências cognitivas, performativas e musicais. Aplicou-se o estudo a um
conjunto de 23 alunos de instrumento – flauta transversal – do ensino
vocacional da música distribuídos por um grupo de controlo e por um grupo
experimental. Foram utilizadas diversas ferramentas de obtenção de dados
que permitiram a recolha de informação conducente à conclusão da
investigação e resolução da problemática nela envolvida. Os resultados
sugerem um impacto da performance frequente em diversos aspectos do
processo de aprendizagem dos alunos.<br>This project aimed to investigate the influence of public performances carried
on on a frequent basis in studentʼs motivation for instrument practicing. It aimed
also for investigating the impact of those frequent public performances in
cognitive, performative and musical competence acquisition. The study was
applied to a set of 23 students of a musical instrument – flute – distributed in
one control group and in one experimental group. Several tools were used to
obtain data that was essential on collecting information that lead to the
conclusion of this investigation and to the resolution of the questions involved.
The results suggest an impact of frequent public performance in several
aspects of the learning process of students.
25
Viala, Romain. "Towards a model-based decision support tool for stringed musical instruments making." Thesis, Bourgogne Franche-Comté, 2018. http://www.theses.fr/2018UBFCD002.
Full textAbstract:
Ce travail de thèse propose un transfert de méthodes industrielles et de recherche que sont le prototypage virtuel et la caractérisation mécanique des structures vers l'artisanat d'art : la fabrication des instruments de musique à cordes, plus particulièrement la guitare et le violon.Ce domaine, historiquement éminemment empirique, est étudié ici avec des critères objectifs. Le travail porte principalement sur le comportementmécanique vibratoire de ces instruments de musique. Le comportement mécanique du matériau utilisé (bois de lutherie) est tout d'abord étudié, et une méthode non-destructive proposée et appliquée à l'épicéa et à l'érable. La fiabilité des modèles numériques et ensuite étudiée par des méthodes de vérification et de validation de modèle, habituellement utilisées dans les domaines industriels et de recherche Les modèles développés sont ensuite utilisés en support à l'étude de phénomènes complexes de l'acoustique musicale appliquée au violon et à la guitare. Pour finir, l'utilisation de ces méthodes numériques pour une application concrète en facture instrumentale (prise de décision en milieu incertain, innovation de la géométrie et des matériaux) est proposée<br>This work proposes a methodology for the transfer of industrial and research domain methods toward arts and crafts domain. The virtual prototyping and mechanical characterization of materials are used for the stringed musical instruments making domain. The works is adressed to the guitar and violin making. This domain is historically driven by empricism and it is studied here using objective criteria. The main topic is the mechanical vibratory behaviour of musical instruments. Firstly, the mechanical behaviour of the material used (tonewood) is studied. A non-destructive methodology is proposed and applied on spruce and maple species. The reliability of the numerical models is studied by method usually used in industry and research, the verification and validation process. The models developed are used as a support for the study of complex phenomena in musical acoustics. Finally, the utilization of numerical method for a practical application in instrument making (decision support under uncertainties, geometric and material optimization) is proposed. The methodology for a transfer to art and crafts domain is discussed
26
Solé, Salas Lluís. "El Disseny universal de pràctiques musicals instrumentals en grup." Doctoral thesis, Universitat de Vic - Universitat Central de Catalunya, 2017. http://hdl.handle.net/10803/461680.
Full textAbstract:
El Disseny Universal és un marc conceptual sorgit des de l’àmbit de l’arquitectura
que proposa elements de disseny de productes i entorns amb la finalitat
d’eliminar barreres i garantir l’accessibilitat al major rang de persones possible.
Durant les darreres dues dècades s’han anat adaptant les pautes d’aplicació de
les directrius del Disseny Universal a nous entorns. En aquesta investigació
proposem explorar les possibilitats d’implementació d’aquest paradigma al camp
de la música instrumental en grup per tal d’aproximar el fenomen musical de
forma activa i praxialista a un major nombre de persones possible. Els nostres
objectius son: la identificació de factors afavoridors de la implementació dels
principis del Disseny Universal a Orquestres i formular pautes d’aplicació
d’aquests principis per a l’organització, funcionament i continuïtat de formacions
instrumentals de tipus orquestral que desitgin abordar repertori occidental des
d’un enfocament d’accessibilitat universal. Per a tal propòsit, hem posat en marxa
una orquestra sense restriccions d’accés, en base a l’anàlisi documental i
l’experiència durant 4 anys ininterromputs de funcionament del projecte. Els
instruments de recollida de dades s’han aplicat sobre participants d’una orquestra
pilot i sobre un grup d’experts en l’àmbit de la música instrumental en grup.
Aquests han consistit en 3 qüestionaris i dos grups focals. Els resultats obtinguts
han permès identificar factors facilitadors i establir pautes d’aplicació dels
principis del DU per al disseny d’orquestres accessibles. S’obre així una línea a
explorar sobre l’aplicació del DU en l’ambit de la música.<br>El Diseño Universal representa un marco conceptual, surgido desde el ámbito de
la arquitectura, que propone elementos de diseño para productos y entornos con
el fin de eliminar barreras y garantizar la accesibilidad al mayor rango posible de
personas. Durante las últimas dos décadas se han adaptando las pautas de
aplicación de las directrices del Diseño Universal a nuevos entornos. En esta
investigación proponemos explorar las posibilidades de implementación de este
paradigma en el campo de la música instrumental grupal con el fin de aproximar
el fenómeno musical de forma activa y praxialista a la sociedad. Nuestros
objetivos son la identificación de factores favorecedores de la implementación de
los principios del Diseño Universal en orquestas y formular pautas de aplicación
de dichos principios para la organización, funcionamiento y continuidad de
formaciones instrumentales de tipo orquestal que deseen abordar repertorio
occidental desde un enfoque de accesibilidad universal. Para ello, hemos creado
una orquesta con propósitos de universalidad de acceso, en base al análisis
documental y la experiencia durante 4 años ininterrumpidos de funcionamiento
del proyecto. Los instrumentos de recogida de datos se han aplicado sobre
participantes de una orquesta piloto y sobre un grupo de expertos en el ámbito
de la música instrumental en grupo. Estos han consistido en 3 cuestionarios y
dos grupos focales. Los resultados obtenidos han permitido identificar factores
facilitadores y establecer pautas de aplicación de los principios del DU para el
diseño de orquestas accesibles. Se abre así una nueva línea a explorar sobre la
aplicación del DU en el ámbito de la música.<br>Universal Design(UD) is a framework that emerged from the field of architecture
to purpose the design of products and environments to be usable by all people,
to the greatest extent possible, without the need for adaptation or specialised
design. During the last two decades it has been applied and adapted to new
frameworks. This research aims to explore the possibilities of implementing this
paradigm in the field of groupal instrumental music in order to appreciate and
disseminate the musical phenomenon and its praxialist approach to the greatest
number of people. The aims are to identify factors favouring the implementation
of the principles of Universal Design for orchestras and formulate guidelines for
applying these principles to the organisation, operation and continuity of
orchestras wishing to address Western repertoire. For this purpose, and based on
experience and bibliographic review, we have created an orchestra focused on
universal access. Different tools have been applied to participants in a pilot
orchestra and experts in the field of instrumental music groups. These consisted
of three surveys and two focus groups. The results have enabled us to identify
facilitating factors and establish some guidelines for applying the principles of DU
for designing accessible orchestras. This opens a new line to explore on the
application of DU in the field of music.
27
Huguet-Benabdelmouna, Marie-Céline. "La réussite en éducation musicale : des facteurs individuels aux facteurs contextuels." Phd thesis, Université de Bourgogne, 2007. http://tel.archives-ouvertes.fr/tel-00259778.
Full textAbstract:
Ce travail se propose d'améliorer la connaissance des déterminants individuels et contextuels de la réussite en éducation musicale en classe de 6e. Trois axes principaux structurent la recherche : les inégalités sociales d'acquisitions, les effets enseignants et l'impact de l'intérêt des élèves pour les activités du cours. Deux tests musicaux (l'un en début d'année, l'autre à la fin) ont été administrés à 1184 élèves bourguignons. Des questionnaires destinés aux différents acteurs (enseignants et élèves) ont permis de collecter des données variées. L'ensemble des données a été analysé à l'aide de modèles multivariés. Les résultats montrent que 1°) les pratiques musicales développent des compétences et qu'elles expliquent l'effet de l'origine sociale sur les acquis musicaux en début d'année ; 2°) les effets enseignant expliquent environ 6% de la variance des scores finaux entre élèves en éducation musicale ; 3°) les facteurs contextuels qui ont des effets significatifs sur les progressions sont tous dirigés vers le développement des acquisitions des élèves ; 4°) l'intérêt des élèves influence leurs acquisitions et est lui-même fortement dépendant de leur niveau scolaire musical et dans les disciplines générales.
28
Perkins, Seth. "Personality and music : an examination of the five-factor model in conjunction with musical preference /." Norton, MA : Wheaton College, 2008. http://hdl.handle.net/10090/5777.
Full text
29
Gomez, Boluarte Daniel Felwig. "Las canciones de cuna en el universo musical andino. Un estudio de caso sobre los factores musicales asociados a este tipo de canciones que las unifican en el repertorio." Bachelor's thesis, Pontificia Universidad Católica del Perú, 2020. http://hdl.handle.net/20.500.12404/17495.
Full textAbstract:
Las canciones dirigidas al infante son un género musical que aparece en la música de diversos
grupos humanos. Dentro de este grupo podemos reconocer canciones dedicadas al juego, al
aprendizaje, al sueño, así como a la muerte y los funerales. Es en este género en donde también
encontramos a las canciones de cuna. Estas son un tipo de canciones, emitidas por los adultos
hacia los bebes y niños, con el fin de conseguir la relajación y el sueño. A su vez, cargan con
información cultural relacionada a las concepciones de bienestar, salud, roles, concepciones
sociales. Existen propuestas, relacionadas a lo sicológico y al lenguaje, que sugieren que estos
cantos generan esta reacción positiva en los niños al configurar, estos mismos cantos, un código
de lenguaje que resulta atractivo para ellos. Es decir, que contienen características efectivas
para su comunicación. La propuesta de la presente investigación sostiene que estas
características de comunicación, adaptadas para el lenguaje de los niños, no son aquellas
pertenecientes al área de lo narrativo o lo temático de las canciones. Sino que, en vista de que
los bebes o niños no son aún seres con un dominio completo del idioma (sus palabras y/o
significados), las canciones encuentran el elemento efectivo de comunicación en el otro
lenguaje presente: la música. Serán entonces estos caracteres musicales, relacionados a su
composición e interpretación, los que configurarán la eficacia del repertorio y su empleo. Para
ello, la presente investigación trabajará el fenómeno de las canciones de cuna dentro de un
panorama musical cuya comunidad académica, no ha abordado el estudio de las canciones: el
panorama musical peruano, en específico, el panorama musical andino. Para ello, se trabajará
con los migrantes de Apurímac en Lima con quienes se realizarán entrevistas y recopilaciones
de estas canciones, sobre las cuales se realizarán análisis de corte musical sobre características
y parámetros también musicales que aparecen asociadas en las canciones de cuna registradas.<br>The infant-directed songs are a musical genre that appears in many human societies. Among
this group we can find songs dedicated to play, to learn, to sleep, and even also to death and
funeral moments. Is in this genre where we also find the lullabies. These are a type of songs,
sung by adults to babies and children, that intend to achieve relaxation and sleep. Within them,
they also carry cultural information related to wellbeing concepts, health, roles in society and
social concepts. There are proposals, related to psychology and language, that suggest that
these songs generate this positive reaction on children as they use language codes that are in
itself attractive to the children. This means that, they have effective characteristics for their
communication and purposes. The proposal of this investigation holds that this communication
characteristics, adapted for the language of the children, are not ones among the areas of the
narrative, lyrics or narrative topics of the songs. Instead, having account that the babies or
infants are not yet fully capable of all the idiom elements (like its words and meanings), the
songs acquire their effective communication element on the other language present: the music.
These musical characteristics, related to the songs composition and performance, will be then
the ones that will generate the effectiveness of the repertoire and its use. For these purposes,
the current investigation will study the subject of the lullabies inside a musical universe that
has not engaged the study of the songs: the Peruvian musical universe, in specific, the Peruvian
Andean musical universe. For that, we will work with the Apurimac’ migrants in Lima with
whom the investigation will perform interviews and cumpilations of these songs, from which
later, musical analysis about the characteristics and musical parameters that appear in the
registered lullabies will be performed.<br>Tesis
30
Bottos, Veronica <1992>. "Social media as factor of co-creation in musical events organization: Three case studies." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13630.
Full textAbstract:
The concept of co-creation appeared in the business management literature thanks to the studies of Prahalad and Ramaswamy. It develops from the observation that people started to act as informed, empowered and active consumers. They have access to a larger amount of information with respect to the past, therefore they want to contribute to the creation of the company offerings. Value itself cannot be controlled solely by the company but it must be the result of an interaction between firms and customers.
This interaction was enhanced thanks to the advent of social media, digital tool which permits to communicate, share and exchange information and other contents with a virtual community in an easy and fast way. Companies, recognizing the potential of such social networks, created their own social media pages in which they directly communicate with their consumers, provide them notices about the brand and capture ideas and opinions to improve their image.
This dissertation analyzes the phenomenon of co-creation through the study of three music festivals. Organizers, through the festival social media pages, aim at extending the overall festival experience on the web, stimulating the sharing of fans’ own content. It has been noted that they directly encourage community to express preferences about artists or suggestions about the event creation, as well as looking for collaborators among the community members. Moreover, social media provides fans the opportunity to freely express themselves and contribute to create the value of the festival.
31
Vert, Alcover Carles. "La aptitud musical y numérica durante la adolescencia: aplicación del test de Seashore y el factor -N- del Bat-7 a un estudio comparativo." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/458015.
Full textAbstract:
Realizamos un trabajo de campo con 200 alumnos de 1º, 2º, 3º y 4º de Educación Secundaria, y les aplicamos dos pruebas: el Test de aptitud musical de Seashore, y el Test de aptitud numérica del BAT-7; una vez analizados los resultados observamos que existe una relación intrínseca entre el nivel de aptitud musical y numérica de los participantes; respecto al género, no se observan diferencias estadísticamente significativas entre los participantes masculinos y femeninos, y que el nivel educativo ejerce una influencia positiva en la discriminación de las variables que miden la aptitud musical y numérica.<br>We performed a fieldwork with 200 students of 1st, 2nd, 3rd and 4th of Secondary Education, and we applied two tests: the Seashore Musical Aptitude Test, and the BAT-7 Numerical Aptitude Test; once the results were analyzed we observed that there is an intrinsic relationship between the level of musical and numerical aptitude of the participants; with respect to gender, there are no statistically significant differences between male and female participants, and that the educational level exerts a positive influence on the discrimination of variables that measure musical and numerical aptitude.
32
Silva, Lígia Borges. "O factor idade no ensino e aprendizagem de flauta transversal." Master's thesis, Universidade de Aveiro, 2011. http://hdl.handle.net/10773/6452.
Full textAbstract:
Mestrado em Música para o Ensino Vocacional<br>Neste projecto procedeu-se à comparação da aprendizagem de flauta
transversal de dois grupos de alunos: alunos adultos e crianças. Nenhum dos
alunos tinha conhecimentos musicais relevantes e todos tiveram o mesmo
número de aulas leccionadas pela mesma professora. Ao fim de 12 aulas foi
possível comparar os comportamentos e aquisições de competências dos dois
grupos de alunos. Desta forma procurou-se estabelecer um perfil do aluno
adulto e discutir quais as suas necessidades, vantagens e desvantagens
quando comparado com um aluno mais jovem. Numa fase final tentou-se
indicar procedimentos e métodos de ensino adequados ao ensino de flauta
transversal a adultos.<br>In this Project we compared the early learning of flute of two group of students:
adults and children. None of the students had relevant musical knowledge and
all the students had the same number of flute lessons, taught by the same
teacher. After 12 lessons we compared behaviours and level of skills acquired
by the two groups of students. With this knowledge we tried to draw a profile of
the adult student, with his needs, advantages and disadvantages, comparing to
a young student. At the end we suggested procedures and teaching methods
more adequate to adult flute students.
33
Daigle, Véronique. "La vie musicale de cinq jeunes filles suivant des leçons extrascolaires d'instrument de musique : les facteurs contribuant à leur engagement pour la pratique d'activités musicales au quotidien, et la perception de leur professeur et parent sur leur vie musicale." Doctoral thesis, Université Laval, 2018. http://hdl.handle.net/20.500.11794/31124.
Full textAbstract:
Les jeunes qui suivent des leçons d’instruments de musique en contexte extrascolaire éprouvent des problèmes importants de motivation à de multiples égards qui amèneraient plusieurs d’entre eux à abandonner leurs études musicales. À titre d’exemple, McPherson et Davidson (2006) estiment que la majorité des jeunes qui amorcent l’apprentissage d’un instrument abandonnerait leurs leçons durant leur première année d’étude. De plus, plusieurs études démontrent que la valeur que l’apprenant accorde à l’apprentissage formel de la musique diminue grandement une fois qu’il entre à l’école secondaire (Discroll, 2009 ; Lowe, 2011 ; McPherson et O’Neill, 2010). Pourtant, ces mêmes jeunes démontrent un intérêt croissant pour les activités musicales réalisées de façon informelle à l’extérieur de l’école, et ce phénomène serait présent dans plusieurs pays (McPherson et O’Neill, 2010). En fait, les jeunes n’apprennent plus uniquement la musique qu’à travers un cadre formel d’apprentissage (Peluso, 2012), mais également par la réalisation de multiples activités musicales, incluant celles pratiquées en contexte informel de manière volontaire au quotidien. Pour motiver davantage l’élève, il s’avère pressant que les enseignants cherchent à établir davantage de liens significatifs entre leur enseignement formel et les expériences musicales vécues par leurs élèves en dehors de leurs leçons (Peluso, 2012). Toutefois, avant d’y parvenir, nous avons besoin d’avoir une meilleure compréhension des activités que les jeunes réalisent de façon autonome, et des actions déjà mises en place par leurs professeurs pour établir ces liens. Cette recherche doctorale visait donc à combler ce besoin. Pour y parvenir, ce projet a été structuré autour de cinq objectifs. Le premier visait à identifier, décrire et catégoriser les pratiques musicales réalisées au quotidien par des élèves suivant des leçons extrascolaires d’instruments de musique. Le second était d’identifier les raisons qui les amènent à s’engager dans la réalisation d’activités de ce type. Le troisième était de décrire l’effet de ces activités sur l’engagement musical du jeune. Le quatrième était d’examiner l’intérêt de leurs professeurs d’instrument pour ce type d’activités et les liens qu’ils cherchent à établir entre ces activités et l’enseignement formel qu’ils offrent à leurs élèves. Le cinquième et dernier objectif était de vérifier les habitudes musicales des élèves auprès de leurs parents et leur opinion par rapport à ces activités. Cinq élèves, cinq parents et cinq professeurs d’instruments ont pris part à l’étude. Différents types de données ont été collectées : questionnaire, enregistrement vidéo, entrevue, observation, prise de notes et journal de bord. Les résultats mettent en exergue que les jeunes pratiquent une grande variété d’activités musicales au quotidien, et sont réalisées dans une diversité de contextes. Pratiquées volontairement par l’élève, ces activités sont majoritairement réalisées en contexte informel et sont grandement motivantes pour le jeune, comparativement aux activités réalisées en contexte formel d’apprentissage. De plus, les thèmes expliquant l’engagement musical des participantes sont conceptualisés de façons différentes par l’élève et le professeur. Plus précisément, les professeurs tendent à voir l’environnement d’apprentissage de façon séparée et sans interrelation avec les autres facteurs pouvant influencer l’engagement musical des jeunes, alors que l’élève considère que ces divers facteurs sont interreliés entre eux et interagissent l’un sur l’autre. Les résultats mettent également en évidence des particularités et des différences individuelles caractérisant l’engagement musical de chacun, tout en observant néanmoins certaines similitudes entre les participantes. En terminant, les résultats offrent des pistes de réflexion sur la manière d’établi r de liens entre les activités musicales des participantes et leur apprentissage formel.<br>Evidence from the literature in music education indicates that students taking private music lessons outside the school system often experience motivational problems that result in their giving up formal music learning. There are two critical periods associated with this problem; in the first 18 months of learning (McPherson & Davidson, 2006) and following the transition from elementary to secondary school. Studies have also demonstrated a decrease in young people’s valuing of music learning when they start secondary school (O’Neill, 2001). However, those same students tend to show a growing interest in informal musical activities that take place outside of school, and this phenomenon has been found in several countries (McPherson & O’Neill, 2010). Not only do youth learn music through formal learning approaches (Peluso, 2012) , they also learn through multiple voluntary musical activities, including informal ones. To foster musical learning and engagement, it is important for teachers to establish links between their formal pedagogy and their students’ musical experiences (Peluso, 2012). In order to do that, we need a better understanding of young people’s music learning activities, including informal music learning experiences. To addresses this gap in our understanding, the first objective of this study was to identify, describe and categorize all the music learning activities performed daily by students taking private music lessons outside of the school system. The second objective was to identify the reasons why students engage voluntarily in their music learning activities. The third objective was to describe the influence of these activities on students’ music engagement. The fourth objective was to examine instrumental teachers’ interests in their students’ music activities and what teachers did to establish links between those activities and their music pedagogy. The last objective was to compare students’ perceptions of their musical activities with their parents’ perceptions and opinions about those activities. Five students, five parents and five teachers took part in the research. Many different forms of data collection were used: observations, video recordings, notes, interviews, questionnaires and e - journals. Results indicated that the students engaged in a wide variety of musical activities that took place within a diverse range of contexts. Results also indicated that informal music learning activities tended to motivate students to engage in music more than formal music learning practices. Furthermore, the way teachers and students talked about the students’ musical environment was different. For the students, all the factors were interrelated and interacted with each other, whereas, for the teachers there was a lack of interconnection. Results also indicated similarities between the participants as well as differences regarding their musical engagement and learning ecologies. Finally, the results indicated avenues for reflection on how to foster links between students’ music activities and teachers’ pedagogical approach.
34
Vauthrin, Camille. "Acoustique et respiration dans le jeu musical des instruments à vent : application aux flûtes." Thesis, Paris 6, 2015. http://www.theses.fr/2015PA066388/document.
Full textAbstract:
Cette thèse présente une étude acoustique des instruments de musique de type flûte, enrichie par l'analyse de la respiration chez les flûtistes.Le flûtiste acquiert au cours de son parcours musical un contrôle expert du jeu de son instrument. Les contrôles développés par le musicien dépendent des libertés et contraintes apportées par son expertise musicale, sa physiologie respiratoire, la consigne musicale et la réponse acoustique de la flûte. Etudier les techniques de jeu nécessite de considérer le flûtiste et son instrument comme un ensemble.D'une part, ce travail porte sur l'étude de la réponse acoustique de la flûte à travers deux études: l'une concernant l'apport de l'acoustique linéaire lors de la conception d'un nouvel instrument par un facteur, l'autre portant sur l'influence de la position des lèvres du flûtiste. Ce travail permet de mettre en lumière les irrégularités du comportement acoustique de la flûte selon le doigté et amène à étudier comment le flûtiste les compense.D'autre part, nous étudions les stratégies respiratoires développées par le musicien au cours du jeu, afin d'obtenir une analyse et une compréhension fines des relations entre les paramètres de contrôle respiratoires et aéro-acoustiques dans un contexte musical. Nous répondons à deux questions : comment le flûtiste adapte sa respiration aux consignes musicales, et quand commence le jeu musical. Enfin, nous nous sommes intéressés aux efforts respiratoires développés par le musicien, en termes de travail et puissance. Une nouvelle question est posée : comment le flûtiste met à profit son système respiratoire afin de réaliser et/ou de faire entendre une intention musicale<br>This thesis presents an acoustical study of flute-like instruments, which is developed by the analysis of flautist’s breathing. The flautist acquires during his musical background an expert control of his instrument. The control developed by the musician directly depends on the freedoms and constraints provided by the musician musical expertise, his respiratory physiology, the musical tasks and the acoustic behavior of the flute. Studying the playing techniques requires us to consider the flautist and the instrument as a whole.First, this work focuses on the study of the acoustic response of the flute through two studies: one on the contribution of the linear acoustics in the design of a new instrument with a flute-maker, the other on the influence of the position of the flautist’s lips. This work allows us to highlight irregularities in the acoustic behavior of the flute according to the fingerings, and leads us to study how the flautist compensates them. Secondly, we study the respiratory strategies developed by the musician while playing, in order to obtain detailed analysis and understanding of relationships between respiratory and aeroacoustic control parameters in a musical context. We answer two questions: how does a flute player adapt his breathing and playing to musical tasks, and when does the musical playing begin. Finally, we were interested in the respiratory efforts developed by the musician, in terms of work and power. A new question is asked: how does the flautist use his respiratory system in order to achieve and/or to highlight a musical intention
35
Mataitytė, Sandra. "Vaikų muzikinės kultūros ugdymo ypatumai dainavimo studijoje." Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130822_105335-02737.
Full textAbstract:
Darbe analizuojamas vaikų muzikinės ugdymas dainavimo studijoje, formalaus ir neformalaus ugdymo reikšmė muzikinės kultūros vystymuisi, veiksniai, darantis įtaką muzikinės kultūros formavimuisi. Bakalauro darbo tikslas – atskleisti vaikų muzikinės kultūros ugdymo dainavimo studijoje ypatumus. Darbo tikslui pasiekti iškelti šie uždaviniai: pateikti muzikinės kultūros sampratą, aptarti neformalaus ugdymo reikšmę muzikinės kultūros ugdymui, išskirti muzikinės kultūros suvokimą įtakojančius veiksnius, aptarti dalyvavimo dainavimo studijoje specifiką, apklausos pagalba išsiaiškinti, kaip dainavimo studijos lankymas veikia mokinių bendrosios ir muzikinės kultūros supratimą bei jos formavimąsi. Tyrimo objektas yra vaikų muzikinės kultūros ugdymas dainavimo studijoje. Tyrimas atliktas trijose Šiaulių miesto dainavimo studijose. Anketinės apklausos metodu siekta atskleisti veiksnius, kurie daro įtaką muzikinės kultūros ugdymui dainavimo studijoje.
Išanalizavus mokslinę literatūrą, gautos šios išvados: muzikinė kultūra glaudžiai susijusi su žmogaus jausmais, intelektu ir dvasiniu pasauliu. Neformalaus ugdymo veikla labiau nei muzikinis ugdymas formaliojo ugdymo įstaigose yra nukreipta į mokinio poreikius. Tai skatina didesnį neformalaus ugdymo įstaigų lankymą. Pagrindiniais veiksniais, darančiais įtaką muzikinės kultūros ugdymui, respondentai laiko gebėjimą bendrauti ir bendradarbiauti, koncertų lankymą ir dalyvavimą juose, jausmus, kuriuos jaučiame muzikuodami. Išaiškėjo, kad visi... [toliau žr. visą tekstą]<br>This paper analyses education of children’s musical culture in vocal workshops, the impact of formal and non-formal education on the development of musical culture, as well as the factors that influence the above-mentioned development. The objective of this Bachelor thesis is to reveal the peculiarities of children’s musical culture education in vocal workshops. Goals, set to achieve this objective, are: to introduce the concept of musical culture; to discuss the impact of non-formal education on the development of musical culture; to identify the factors that influence the perception of musical culture; to discuss the peculiarities of participation in vocal workshops; to conduct a survey in order to define the influence of vocal workshops on the perception and development of children’s musical culture. Object of the research is education of children’s musical culture in vocal workshops. The research was conducted in three vocal workshops in Šiauliai. A questionnaire was used to reveal the factors that influence the education of children’s musical culture in vocal workshops.
The following conclusions were drawn after analysing the scientific literature: musical culture is closely related to person’s feelings, intellect and spiritual world. Non-formal musical education is channelled towards the pupil’s needs at a higher degree than formal musical education provided in schools. This factor stimulates more children to be interested in non-formal education. The questionnaire... [to full text]
36
Sanjuán, Cortés Iván. "El papel del batería en el jazz contemporáneo. Factores que inflluyen en la creación de un lenguaje musical propio." Master's thesis, Universidade de Évora, 2017. http://hdl.handle.net/10174/22354.
Full textAbstract:
La elección de este tema para mi investigación nace a partir de algunas preguntas que
me formulo como músico y artista, éstas son: ¿Cuál es mi papel como instrumentista
dentro del jazz actual? ¿Por qué puede interesar, o no, lo que ofrezco como artista? ¿Es
bueno poseer un estilo musical personal y diferenciado? A raíz de estas cuestiones
decido abordar este trabajo sin la intención de establecer verdades absolutas sobre la
interpretación en batería en el jazz contemporáneo, pero sí con el interés de analizar lo
que realmente sucede en el mundo de la batería jazz hoy en día. A partir de estudios
bibliográficos y trabajo de campo analizaré el papel que juega como intérprete el batería
dentro del jazz contemporáneo y cuáles son las cualidades que éste debe desarrollar para
desenvolverse dentro del jazz actual. Este trabajo también tratará sobre los aspectos que
influyen en la conformación del estilo o lenguaje personal del batería de jazz; ABSTRACT: The role of the drummer in the contemporary jazz.
Influential factors in the creation of a personal musical language.
The selection of the topic of my research emerges from the questions that I ask myself
as a musician and as an artist. These questions are the following: Which is my role as a
musician in today´s jazz scene?; Why what I offer as an artist would be interesting or
no?; Is it valuable and positive to have a personal and characteristic style? I decided to
develop my research from this starting point, not seeking the statement of absolute
truths, but with the purpose of making an analysis of the actual role of drums in today´s
and contemporary jazz scenes. Based on bibliographic research and also on fieldwork I
will make an analysis of the role of the drums players in today´s jazz and what are the
skills and qualities that drums players needs for effectively performing their
professional activity in the contemporary jazz scene. This research work will also deal
with the aspects that influence the conformation of the style or personal language of
a jazz drummer; RESUMO: O papel do baterista no jazz contemporâneo.
Factores que influenciam a criação de uma linguagem musical própria.
A escolha deste tema para a minha investigação nasceu de algumas questões que eu me
formulei como músico e artista. Tais são: Qual é o meu papel como instrumentalista
dentro do jazz atual? Por que deveria interessar, ou não, o que eu ofereço como artista?
É bom ter um estilo musical pessoal e diferenciado? Seguindo estas perguntas, decido
resolver este trabalho sem a inteção de estabelecer verdades absolutas sobre a
interpretacão da bateria no jazz contemporâneo, mas sim com o interesse de fazer uma
analisse do que realmente acontece no mundo da bateria jazz hoje em dia. A partir de
estudos bibliográficos e um trabalho de campo tentarei fazer uma análise do papel
desempenhado como intérprete do baterista dentro do jazz contemporâneo e quais são as
qualidades que este deve desenvolver para se valer no jazz atual. Este trabalho também
tratará sobre os aspectos que influenciam na conformação do estilo ou a linguagem
pessoal do baterista de jazz.
37
Gonçalves, Fernanda Maria Pereira Pires. "Os efeitos da animação artística : a música como factor de inclusão dos alunos de necessidades educativas especiais." Master's thesis, Instituto Politécnico de Bragança, Escola Superior de Educação, 2010. http://hdl.handle.net/10198/4305.
Full textAbstract:
Estimular e promover a Inclusão, assim como educar na diversidade, não é tarefa fácil para as escolas, bem como para todos os agentes que nela intervêm. Para que o espaço escola se traduza num lugar onde todos os alunos se sintam integrados e vejam os seus direitos garantidos, haverá com certeza um grande caminho a percorrer, independentemente do género, idade, cultura, religião ou classe social. Neste contexto, o trabalho de investigação-acção aqui desenvolvido, pretende dar um contributo significativo para o conhecimento e para as práticas educativas na escola, uma vez que se reconhece a Educação como um corpus singular e multidimensional, capaz de convocar e reunir sinergias num projecto educacional plural e integrador. E é neste projecto que a Animação Artística joga um papel imprescindível e determinante na educação do sujeito, na medida em que ela constitui um veículo para o desenvolvimento da criatividade e da prática reflexiva em geral, onde a Educação Musical tem um papel de destaque.
Este trabalho pretende ainda estimular e promover momentos de aprendizagem através do lúdico, indispensáveis para os alunos de Necessidades Educativas Especiais e, em particular, os que se inserem no Currículo Específico Individual, onde os ritmos individuais sejam respeitados, e o desenvolvimento de expressão pessoal, social e cultural do aluno se faça com base na persistência, dedicação e diversificação de estratégias de ensino/aprendizagem.
Este trabalho socorre-se de diferentes metodologias e ferramentas nas áreas da Música, da Expressão Dramática e da Animação Artística, com o claro propósito de facilitar a aprendizagem das 5 crianças com Necessidades Educativas Especiais, alvo deste estudo, e assim contribuir para um melhor desenvolvimento pedagógico e inclusão na comunidade educativa.Stimulating and promoting inclusion, as well as educating for diversity, are no easy tasks for schools, nor for all the people involved in them. In order for the school area to be regarded as a place where all students feel integrated and their rights guaranteed, there is still a long path to follow, regardless of gender, age, culture, religion or social class. Within this context, our research intends to provide a significant contribution to the knowledge and educational practices of schools, considering that education is both a single and multidimensional corpus, capable of gathering synergies in a plural and integrative educational project. It is within this project that the Arts play an essential and determining role in developing creativity and reflection in general, where music plays a leading role.
This study aims at stimulating and promoting learning moments through fun, an essential component for Special Education students and, in particular, those with a specially designed individual curriculum (CEI) where the individual paces are respected and the development of personal, social and cultural expression of the student is done though persistence, dedication and diversification of teaching/learning strategies.
This study is based on different methodologies and tools from the areas of music, drama and Community development and art education, with the clear objective of facilitating learning for 5 children in the Special Education programme, and, therefore contributing for a better pedagogical development and inclusion within the educational community.
38
Wilmotte, Marie-Hélène. "La flûte traversière et le système Böhm : 200 ans d'histoire, d'enjeux et d'enseignement : du début de XIXe siècle au début du XXIe siècle." Rouen, 2009. http://www.theses.fr/2009ROUEL001.
Full textAbstract:
La flûte Böhm a connu un formidable essor depuis sa création. Le propos de ce travail est de déterminer la place occupée par les nouvelles flûtes dans la création musicale du XIXe siècle à nos jours, en étudiant les innovations organologiques, les enjeux et les enrichissements musicaux et pédagogiques intrinsèquement liés. Les rencontres multipolaires de métallurgistes, spécialistes en traitements de surfaces, de facteurs, de compositeurs, de pédagogues et d'interprètes nous permettent d'approcher l'étude de la facture de la flûte traversière au XXe siècle de manière très complète, aboutissant sur des propositions d'innovations et d'expériences futures. La démonstration de la thèse porte sur les implications croisées de l'évolution du système Böhm, la création musicale, l'enseignement et l'évolution de la facture de la flûte traversière, et le lien de cet instrument au concept d'art-science<br>During 1960s, the instrument still develops : creation of instruments which can reach(affect) surprising tessituras, development of flutes intended for the youngest pupils. . . The comment of this work is to determine the place occupied by the new flutes in the musical creation of the XIXth century in our days, by studying the organologiques innovations, the stakes and the intrinsically connected musical and educational enrichments, as testimony of a tremendous vitality of the traverse flute. The multipolar meetings of metalworkers, specialists of surface treatments, factors of flutes, composers, teachers and interpreters allow us to approach the study of the invoice of the traverse flute in the XXth century in a very complete way, succeeding on propositions of innovations and future experiments. The crossed involvements of the evolution of the system Böhm on the musical creation, the education and the evolution of the invoice of the traverse flute, and al's link flute Böhm in the concept of art-science are demonstrated
39
Cruz, de Menezes Ruth. "Les stratégies cognitives utilisées lors de la transcription musicale et des facteurs cognitifs pouvant influencer leur résultat." Thesis, Université Laval, 2010. http://www.theses.ulaval.ca/2010/27434/27434.pdf.
Full text
40
Grévrend, Isabelle. "Les orgues néoclassiques en Normandie : études de la facture instrumentale et de l'écriture musicale : études historiques et analyses techniques de quelques instruments normands." Rouen, 2006. http://www.theses.fr/2006ROUEL533.
Full textAbstract:
La présente étude traite des éléments caractéristiques de la facture instrumentale et de l'écriture musicale en matière d'orgue néoclassique, ainsi que de l'origine historique de ce style. A ces explications s'ajoutent un glossaire et deux index. La période concernée par ce style se déploie entre les années mille neuf cent trente et les années mille neuf cent soixante dix. En regard de ces généralités, des analyses historiques et techniques, avec annexes documentaires et iconographiques sur les régions de Basse- et Haute-Normandie, viennent apporter des précisions en ce qui concerne la facture, et des extraits musicaux mettent en lumière les explications à propos de procédés de composition<br>This studying deals with characteristic elements of the instrumental technique and musical composition as regards neoclassical organ, as well as the historical origin of this style. With these explanations add a glossary and two indexes. The concerned period opens out between the nineteen-thirties years and the nineteen-seventies years. In comparison with these generalities, historical and technical analyses, with documentary and iconographical appendices from Basse- and Haute-Normandie, are providing precisions concerning the instrumental technique. Some musical extracted shed light on explanations about composition process
41
Peronnet, Patrick. "Les enfants d'Apollon. Les ensembles d'instruments à vent en France 1700 à 1914 : Pratiques sociales, insertions politiques et création musicale." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040227.
Full textAbstract:
Dans l’histoire de la musique occidentale, de nombreuses formes orchestrales se sont imposées de l’orchestre symphonique aux ensembles de musique de chambre. L’intérêt pour ces formes s’est rarement porté sur les ensembles d’instruments à vent particulièrement adaptés à la musique de plein air. Le choix de la longue durée historique laisse entendre tous les possibles d’une histoire politique, culturelle et sociale de 1700 à 1914. Les conditions dans lesquelles sont nés et se sont développés ces ensembles en France, permet d’en voir leur usage, leur répertoire, leur sociabilité et leur impact sur la vie musicale.L’histoire de l’ensemble à vent est complexe. Musique ostentatoire ou militaire il est pendant longtemps l’objet sonore du pouvoir. L’étude des conditions de la création musicale spécifique pour ces ensembles fait apparaître des usages musicaux particuliers et permet d’établir un premier recensement d’oeuvres originales et de compositeurs, tout en montrant les relations entre création musicale savante et usage utilitaire ou populaire.La pratique instrumentale évolue avec les innovations de la facture tout comme l’art de l’orchestration. Le statut des musiciens évolue du professionnalisme à l’amateurisme orphéonique. La modélisation de la musique d’harmonie ou de fanfare et son instrumentalisation par le pouvoir lui confère une fonction représentative officielle. Le modèle « français » se répand sur tous les continents. Parallèlement, d’un usage ostentatoire et privé, l’ensemble à vent devient musique du peuple et sa pratique se diffuse sur l’ensemble du territoire national imposant un mode original de transmission musicale en marge des enseignements officiels et en quête de reconnaissance.Entre unité et diversité cette étude invite à redécouvrir la part patrimoniale des ensembles d’instruments à vent dans les champs historiques, sociologiques et musicologiques, à l’heure où, pour de multiples raisons, ces ensembles sont menacés<br>In the history of western music, a lot of different shapes of bands grew on, from the symphony orchestra to the chamber music ensembles. But among these bands, the wind bands hardly attracted interest to perform outdoor music. With the choice of a historically long time period we are able to imagine all that their political, cultural and social history could be, from 1700 to 1914. The conditions of birth and development of these ensembles allow us to observe what their uses, repertoire and sociability were and what was their impact on musical life.The history of the wind band is complicated. For a long time period, being either conspicuous music or military music, it was used by the political power as an object of expression. Studying the conditions of musical creation of these ensembles reveals specific musical uses. It enables to establish a first inventory of original works and composers, while linking scholar musical creation and practical or popular use.The instrumental practice changes according to the innovations in the making process, as the orchestration art. The musicians' status evolves from professionalism to band amateurism. The establishment of a model of concert band music or brass band music and its exploitation by the political power leads to an official representative function. France becomes all over the world a country to look up to in this matter. At the same time the wind ensemble, for a conspicuous and private use, happens to become the music of the people. Its practice spreads throughout France, setting a specific way to pass music on, detached from the official teachings and in search for recognition.Between unity and diversity, this study is an invitation to discover again the cultural heritage of the wind bands in the history, sociology and musicology fields, when today these bands are threatened
42
Fjellman-Wiklund, Anncristine. "Musicianship and teaching : aspects of musculoskeletal disorders, physical and psychosocial work factors in musicians with focus on music teachers." Doctoral thesis, Umeå universitet, Fysioterapi, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-99338.
Full textAbstract:
Musculoskeletal disorders are common among musicians at all levels of performance. Since music teachers train our future musicians it is important to understand their work environment. By creating good examples of a healthy work environment, they can teach their students how to stay healthy and to prevent pain. The aim of this thesis was to study the work environment of music teachers at municipal music schools, with regard to physical and psychosocial factors and musculoskeletal disorders with the focus on neck and shoulder disorders. An additional aim was to investigate the variability of the playing technique in string players and to investigate if they could play with greater variation in the trapezius muscle activity pattern after a training intervention program. In a cross-sectional study at 23 municipal music schools, 171 out of the 208 (82%) music teachers reported that they had experienced work related musculoskeletal disorders (WMSDs) during the previous year. Women reported significantly more symptoms in the neck, the shoulders and the upper back compared to men. Both physical and psychosocial work factors were associated with neck and shoulder disorders. For women “high mental work demands” and “teaching at many schools” could be seen as risk factors and for men “lifting”, “playing the guitar” and “low social support at work” were risk factors. The occurrence of WMSDs was also investigated, over an eight-year period, in music teachers at one music school. The result showed that neck, shoulder and lower back disorders were common and tended to be of long duration and to increase over the years. In an interview study, nine music teachers focused on what they perceived to be important for their health and well-being. Replenishing and using up energy was found to be the core category. Creativity in the music and working with other musicians were perceived as sources of energy, while the goals of the organisation were experienced as stressful and used up energy. Whether the work was regarded as pedagogical or musical could affect the perception of health and the strategies for dealing with the strains of work. In two studies using electromyography, the variation in the trapezius muscle activity pattern in string musicians was investigated. The results suggested that each musician could repeat their muscular activity pattern in a similar way between two playing sessions. No difference was found in the trapezius muscle activity between five violinists who trained basic Body Awareness Therapy (BAT), a technique having its roots in Tai Chi Chuan tradition, compared to a reference group of nine violinists who did not take part in any training. However, the training group perceived positive changes in breathing, muscular tension, postural control and concentration during practice sessions. Neck and shoulder disorders were associated with physical and psychosocial factors at work. A process of replenishing and using up energy was important for music teachers’ health. The playing technique in string musicians seemed to be repeatable but difficult to affect over a short-term period. For future musicians it is crucial to learn good working technique at an early age. In the learning process the music teacher is a vital role model.<br><p>Diss. (sammanfattning) Umeå : Univ., 2003, Härtill 5 uppsatser</p><br>digitalisering@umu
43
Bago, d'Uva José Carlos. "Práticas de técnica vocal e respiratória aplicadas ao canto coral nas escolas do 1º ciclo do E. B.: um estudo sobre os efeitos da técnica vocal e respiratória como (um dos) factor(es) de valorização "do canto em conjunto" no contexto de sala de aula." Master's thesis, Escola Superior de Educação, Instituto Politécnico de Setúbal, 2010. http://hdl.handle.net/10400.26/5565.
Full textAbstract:
Mestrado em Ensino de Educação Musical no Ensino Básico<br>Este trabalho apresenta como tema aglutinador as «práticas de técnica vocal e respiratória (PRATEVOR) aplicadas ao canto coral nas escolas do 1º ciclo do E.B.». Tendo como contexto de aplicação a especificidade curricular do 1º ciclo do E.B. na Região Autónoma da Madeira, este estudo desenvolve-se a partir do questionamento sobre os efeitos da técnica vocal e respiratória adaptada às crianças em contexto escolar, como factor de valorização do canto em conjunto exercido a partir da sala de aula, no ensino generalista. Outras
variáveis serão despoletadas pela pesquisa, também como condicionantes a considerar, perspectivando, na sua complementaridade, a qualidade do canto coral escolar.
Neste âmbito, foi realizado um projecto educativo onde alunos do 4º ano, no decurso de 1 período lectivo, montaram e apresentaram publicamente um auto-de-Natal, constituído por 12 temas cantados polifonicamente, aplicando competências adquiridas e desenvolvidas através do treino regular das PRATEVOR nas aulas.
Paralelamente foi desenvolvido um projecto de investigação constituído por 2 estudos comparativos do tipo Investigação-Acção. Ao longo de 4 fases processuais, foram realizados diferentes questionários envolvendo especialistas em canto infantil, professores de canto coral escolar e alunos.
Consubstanciado numa vasta revisão da literatura, enriquecida por uma
justificada incursão histórica sobre o tema, os resultados do estudo apontam para diversas conclusões que, pela sua previsível aplicabilidade em contexto educativo, pretende-se que constituam indicadores que possam contribuir para a melhoraria da prática musical cantada, reflectida e reconstruída a partir da escola actual.
44
Karami, Elham. "Effet de traitements thermiques modérés et de revêtement sur les propriétés vibratoires des bois d’Epicéa et de Mûrier." Thesis, Montpellier, 2016. http://www.theses.fr/2016MONTT340/document.
Full textAbstract:
Le bois est couramment utilisé pour la fabrication d’instruments de musique. Les procédés employés consistent souvent en traitements modifiant le matériau en volume ou en surface. Ce travail s’est focalisé sur deux espèces employées dans les instruments à cordes et représentatives de différentes cultures: L’épicéa (Picea abies Karst.) utilisé en Europe et le Mûrier blanc (Morus alba L.) utilisé en Iran. Pour chacune l’effet d’un traitement thermique modéré (<150°C) et d’un revêtement par vernis sur plusieurs propriétés physiques et mécaniques ont été étudiés. Les principaux résultats sont les suivants. A la différence de l’Epicéa, le Mûrier présente un très faible degré d’anisotropie mécanique. Chez les deux espèces, le traitement thermique entraîne une forte chute dde l’amortissement, particulièrement dans la direction radiale pour l’Epicéa, ainsi que du taux d’humidité d’équilibre, sans dégradation marquée comme indiqué par la faible perte de masse. Toutefois, après reconditionnement à haute humidité, une part importante de la modification est récupérée. L’application d’un vernis à base solvent sur le Mûrier entraîne une rigidification continue, tandis que la forte augmentation de l’amortissement observée après l’application est suivie par un retour au bout d’environ 2 mois aux niveau du bois non traité. Pour l’Epicéa, des vernis à base d’huile siccative ont été appliqués et divers paramètres du procédé ont été testé. Dans ce cas la cintétique de stabilisation des propriétés est très lente et des variations notables continuaient à être observée au bout de 5 mois<br>Wood is commonly used for making musical instruments. During the process it is often subjected to treatments, that either modify its volume or its surface properties. Two species used for for string instruments were studied, representative of different cultures: Spruce (Picea abies Karst.) used in Europe and White Mulberry (Morus alba L.) used in Iran. For each of them the effect of thermal treatment at moderate temperature (<150°C) and of coating on various physical and mechanical properties was studied. The main results are as follows. In contrast to Spruce, Morus has a very low degree of mechanical anisotropy. For both species, thermal treatment induces a strong decrease in damping, especially in R direction for Spruce, and equilibrium moisture content, without marked degradation as indicated by the very small weight loss. However, after reconditioning at high humidity, a significant part of the changes is recovered. The application of a solvent-based varnish on Morus induces a continuous stiffening, while a very strong increase in damping after application is followed, after about 2 months, by a return to values close to those of untreated wood. For Spruce, siccative oil based varnish was applied and several parameters of the process were tested. In this case, the kinetics of property stabilisation are very slow and significant changes were still observable after 5 months
45
Vandervellen, Pascale. "La facture du piano dans les provinces belges des origines à 1851." Doctoral thesis, Universite Libre de Bruxelles, 2007. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210716.
Full textAbstract:
L’étude fournit un panorama exhaustif de la facture du piano dans les provinces belges. Elle s’étend de 1761, année de la première référence écrite au piano, à 1851, date jalon marquée par l’industrialisation progressive des techniques et la standardisation des modèles. Entre ces deux dates, le dépouillement des almanachs permet de dénombrer plus d’une centaine de facteurs, majoritairement actifs à Bruxelles. Ils possèdent, suivant les registres des patentables, de petits ateliers. L’examen des instruments conservés montre que la production est de qualité. Elle relève à part entière de l’artisanat et est centrée sur les modèles domestiques – pianos carrés et pianos droits. En 1850, elle avoisine 1 750 instruments par an. Une cinquantaine de brevets d’invention liés au piano sont déposés. Ils témoignent, tout comme la participation croissante des facteurs aux expositions des produits de l’industrie, de la formidable énergie qui mobilise la facture du piano durant la période considérée.<br>Doctorat en Histoire, art et archéologie<br>info:eu-repo/semantics/nonPublished
46
Marconi, Emanuele. "Le Musée des instruments à vent de La Couture-Boussey : genèse et développement d'un musée ouvrier." Electronic Thesis or Diss., Sorbonne université, 2024. http://www.theses.fr/2024SORUL039.
Full textAbstract:
Le Musée des instruments à vent de La Couture-Boussey (département de l'Eure, Normandie) a été fondé en 1888 par les membres de la « Chambre Syndicale des Ouvriers en Instruments de Musique (Finisseurs) ». Seul exemple de son époque de musée français dédié à la facture instrumentale, il fut fondé à la fois dans le mouvement d'un intérêt croissant vers les collections publiques d'instruments de musique qui prend forme au début de ce siècle, et dans le contexte des luttes ouvrières des années 1880. Son objet est de valoriser et perpétuer le savoir-faire des facteurs du bassin couturiot, un ensemble d'une dizaine de villages aux alentours de La Couture-Boussey, épicentre de la manufacture d'instruments à vent en bois depuis le début du XVIIe siècle. Son histoire, caractérisée par une alternance de périodes d'activités et d'abandon, reflet des dynamiques socio-économiques du village, peut être lue au travers des principaux événements du XXe siècle : les deux guerres mondiales, la crise des années 1930, le boom économique des années 1950 et 1960 et, enfin, la globalisation du marché et la fermeture des entreprises. Élaborée à partir de nombreuses sources d'archives rassemblées et pour la plupart inconnues à ce jour, cette thèse aborde successivement, avec une approche et des résultats inédits, l'histoire de la facture d'instruments à vent à La Couture-Boussey, la déconstruction des mythes de ses origines, les grèves à l'origine de la création du Syndicat, l'histoire du Musée, et celle de ses collections d'instruments et d'outils, de sa bibliothèque, tout en soulignant son rôle de premier plan au niveau européen, en cette fin du XIXe siècle, dans la réalisation de copies d'instruments de musique anciens (facsimilés) qui constituent une partie fondatrice de sa collection<br>The La Couture-Boussey Wind Instrument Museum (Eure Department, Normandy) was founded in 1888 by members of the “Chambre Syndicale des Ouvriers en Instruments de Musique (Finisseurs)”. The only example of its time as a French museum dedicated to music instrument making, it was founded both in connection with the growing interest in public collections of musical instruments which took shape at the beginning of this century, and in the context of the workers' strikes of the 1880s. Its purpose is to promote and perpetuate the know-how of the makers of the La Couture basin, a group of about ten villages around La Couture-Boussey, epicentre of the manufacture of woodwinds since the beginning of the 17th century. Its history, characterized by alternating periods of activity and abandonment, reflecting the socio-economic dynamics of the village, can be read through the main events of the 20th century: the two World Wars, the crisis of the 1930s, the economic boom of the 1950s and 1960s and, finally, the globalization of the market and the closure of businesses.Developed from numerous archival sources collected and for the most part unknown to date, this thesis successively addresses, with an approach and new results, the history of the making of woodwinds in La Couture- Boussey, the deconstruction of the myths of its origins, the strikes at the origin of the creation of the Union, the history of the Museum, and that of its collections of instruments and tools, of its library, while highlighting its leading role at the European level, at the end of the 19th century, in the creation of copies of old musical instruments (facsimiles) which constitute a founding part of his collection
47
Mathis, Thierry. "Le clavecin en France aux XVIIe et XVIIIe siècles : découvertes organologiques et nouvelles techniques de l’interprétation." Thesis, Strasbourg, 2013. http://www.theses.fr/2013STRAC011.
Full textAbstract:
La musique française pour clavecin des XVIIe et XVIIIe siècles est-elle jouée de nos jours telle qu’elle devrait l’être ? De quelles sources disposent musicologues et musiciens pour approcher au plus près l’authentique sonorité du clavecin, la technique de son jeu, et la compréhension de son répertoire ? Cette approche nous a conduit à discerner neuf points déterminants, essentiels à la compréhension de la facture du clavecin. La mesure d’octave des claviers français de l’époque était inférieure à celle des instruments des pays voisins, et notamment inférieure à celle appliquée dans la facture de nos jours. Pour mémoire, cette mesure conditionne l’écartement entre le pouce et l’auriculaire, lequel écartement influence le jeu. Si l’écart est de moindre taille, les doigts sont plus rapprochés, et de ce fait, la main gagne en décontraction. Le jeu à la française se distingue aussi depuis ses origines par l’extrême souplesse de l’harmonisation, le peu de tension des cordes et le diapason bas (le La3 à 392 – 406 Hz). Par ailleurs, nous avons pu révéler l’existence de clavecins à trois claviers, la présence du seize pieds et du jeu nasal dans certains instruments (alsaciens notamment), et la paternité française de l’éclisse courbe en forme de « S ». Concernant les claviers, l’évolution de l’ambitus de l’instrument depuis le début du XVIIe jusqu’à la fin du XVIIIe siècle est bien connue des musicologues et des musiciens. Toutefois, aucune étude de cette évolution n’a été réalisée pour démontrer l’élargissement des claviers depuis le premier livre imprimé en 1670, les pièces de clavecin de Chambonnières, jusqu’à l’ambitus définitif des cinq octaves imposées dans les pièces de clavecin en concerts de Rameau en 1741. Notre étude s’est également étendue aux cordes, par la vérification de leur épaisseur et des matières dont elles étaient faites. Il s’avère que les facteurs de l’époque utilisaient des diamètres inférieurs à ceux des cordes actuelles, et qu’elles n’ont jamais été en cuivre dans les basses. Seul le laiton à forte teneur en cuivre était considéré comme satisfaisant pour la sonorité des cordes les plus graves. Quant aux cordes des trois cinquièmes supérieurs du clavier, elles étaient faites en fer mou qui n’avait qu’une faible tension. Il va sans dire que l’acier, employé de nos jours, était inconnu à cette époque. Enfin, il est admis aujourd’hui que le clavecin, une fois le tempérament posé, s’accorde en octaves pures, alors qu’il en était tout autrement au XVIIIe siècle, ainsi que nous l’avons établi à travers un texte de Corrette<br>Is French harpsichord music of the 17th and 18th centuries played today as it should be ? What sources can help musicologists and musicians to reproduce the authentic harpsichord sound and playing techniques of that epoch, and understand its repertoire, as faithfully and fully as possible ? The mere fact that this music went unplayed for so long prompts that question. In fact, the harpsichord was forgotten overnight. The favoured instrument of court and fashionable society under the ancien régime, it had aristocratic associations which doomed it when the Revolution came. A century later, in June 1889, the noble, silvery sound of its plucked strings made a first, hesitant comeback, thanks to Louis Diémer. But it was only in the 20th century, between the two world wars, that Wanda Landowska’s tireless enthusiasm gave this baroque keyboard instrument a new lease of life. Interest in building “old-style” harpsichords, using traditional techniques, first developed in the late 1950s, and their popularity has grown steadily ever since. Today’s enthusiasts want to go back to the origins, and revive old ideas and techniques, but they still have a long way to go. At an earlier stage, techniques used in making pianos were extended to harpsichords - and some of these “alien” elements and additions are still present. We felt the time had come to clarify the picture by consulting certain contemporary texts, which had been unduly neglected. We found indeed that these were at odds with twentieth- century improvements, had been mistranslated or misunderstood, or were, quite simply, hard to find.Anyone wishing to form an idea of the original harpsichord sound must start with organology, and the various instruments used by French musicians in the 17th and 18th centuries offer valuable clues. X-ray examination reveals their design and shows how they were regulated (keys, jacks, plectra).Thanks to this approach, we have identified nine essential factors which illuminate the design and construction of these instruments. French manuals of the time had a narrower octave span than those of instruments made in neighbouring countries - or today. Span, of course, determines the distance between thumb and little finger, which itself affects playing. The smaller the gap, the closer the fingers, and the more relaxed the hand. From the beginning, the French sound was also distinguished by its highly flexible harmonies,low-tension strings and low pitch (A3 at 392-406 Hz.). We also found that some harpsichords had three manuals, that some (particularly Alsatian instruments) had 16 foot stops and a lute stop, and that the S-shaped bentside was a French innovation. Musicologists and musicians already know in general terms how manuals evolved from the early 17th to the late 18th century, but no specific research has been done on the process by which they became wider, between 1670, when the first book, Chambonnière’s Pièces de clavecin, was published, and 1741, when Rameau’s Pièces de clavecin en concerts made five octaves the norm.We have also studied strings, their thickness and the materials of which they were made. We have found that string diameter was smaller than it is now, and that bass strings were never made of copper. Only brass with high copper content was thought to give the deeper strings a satisfactory sound. Strings on the upper three-fifths of the manual were made of soft iron, which had little tension. Steel, which is used today, was obviously unknown.Finally, harpsichords, once their temperament is established, are today tuned in pure octaves –which, as a text by Corrette has shown us, was far from being the case in the 18th century
48
Guilloteau, Alexis. "Conception d'une clarinette logique." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM4740.
Full textAbstract:
Le processus de conception des instruments à anche simple, élaboré au fil des siècles par les facteurs, est essentiellement basé sur des lois de comportement empiriques qui résultent de l’arbitrage des clarinettistes. Leurs critères subjectifs d’appréciation semblent être aussi bien alimentés par des descripteurs acoustiques (fréquence de jeu, spectre perçu, dynamique) que par l’aisance dans leur contrôle. Les connaissances actuelles en propagation guidée dans les réseaux de trous latéraux, offrent une base nécessaire à la prédiction du comportement acoustique linéaire du résonateur de l’instrument. Nous cherchons, à l’aide de ceux-ci, à proposer une méthode d’optimisation géométrique (positions et dimensions des trous latéraux) afin d’atteindre une retranscription objective, la plus proche possible, des critères d’appréciation du musicien. L’heuristique suivie au cours de cette étude vise à affiner les modèles de comportement ainsi que la construction des critères objectifs d’appréciation à l’issue de chaque réalisation d’un prototype de clarinette jusqu’à leur validation expérimentale. Avec l’aide d’un facteur d’instrument, deux prototypes ont été réalisés et nous exposerons les avantages et inconvénients des procédures d’optimisation appliquées à chacun d’eux<br>Single reed instruments conception process developed by instrument makers, is essentially based on empirical laws obtained from their interaction with musicians. Some of the subjectives criteria seems to be defined by both acoustic descriptors(like playing frequency, radiating spectrum and musical dynamics for exemple) and the ease of their control. Present knowledges in guided wave propagation in tone hole lattice are a necessary background to explain linear behavior of the clarinet. We aim to develop an optimisation method for clarinet geometrical variables in a way to reach the best objective translation of the clarinetists appraisal criteria. Then, the followed heuristic in this study consist in the enhancement of the acoustic behavior laws in parallel with the development of objective criteria after each logical clarinet making, until their experimental validation. The collaborative work with an instrument maker, helps us to make 2 prototypes with each specific procedure depicted in this document
49
Xu, Liang. "L'école de lutherie française au dix-neuvième siècle : Jean-Baptiste Vuillaume : originalité et imitation du modèle de violon crémonais." Phd thesis, Université de Strasbourg, 2012. http://tel.archives-ouvertes.fr/tel-00763094.
Full textAbstract:
Lorsque nous évoquons la fabrication du violon, la majorité des gens ne mentionnent que les trois luthiers italiens les plus célèbres dans le monde : Nicolo Amati, Antonio Giacomo Stradivari, dit Stradivarius, Bartolomeo Giuseppe Antonio Guarneri c'est-à-dire Guarneri del Gesù, dit Guarnerius. Ils sont sans aucun doute les maîtres-lutherie en la matière et également tous issus de l'école crémonaise. De plus, leurs violons ont beaucoup inspiré leurs successeurs et les luthiers contemporains.A la fin du XVIIIe siècle, la fabrication du violon était essentiellement centralisée en France, plus particulièrement à Paris où sont apparus plusieurs luthiers talentueux tels que Jacques Bocquay, Jean-François Aldric, Louis Guersan, Léopold Renaudin, etc. Bien qu'ils soient moins connus que Stradivarius et Guarnerius, ils ont pris en compte les méthodes de conception italiennes et ont mis en place, grâce à celle-ci, l'école française de lutherie. Enfin, au XIXe siècle, Jean-Baptiste Vuillaume est apparu en France ; il a été non seulement un luthier excellent et innovateur, mais aussi un copiste de Stradivarius très célèbre. D'ailleurs, il a été également un grand praticien de l'acoustique et un commerçant hors pair, ce qui fait qu'aujourd'hui il est considéré comme le "Stradivarius français ".Ainsi mon travail est composé de trois parties : l'origine de l'art et analyse de la structure du moule de Stradivarius, la conception du violon chez Jean-Baptiste Vuillaume, la recherche de la structure du violon à partir des fondements acoustiques ; ces parties sont suivies d'une conclusion.
50
Liu, Ning-Ning, and 劉寧寧. "A Study of The Decision Factors for Musical Composers to Choose Musical Copyright Agencies." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/80876206326879941855.
Full textAbstract:
碩士<br>國立屏東科技大學<br>科技管理研究所<br>97<br>At present, the domestic musical composers protected their own musical creations by making the managerial contracts with musical copyright agencies. However, every musical copyright agency had different managerial functions. This research utilized secondary sources and stratified sampling to find what the decision factor of musical composers to choose musical copyright agencies was by using analytic hierarchy process.
The results revealed that the ability of musical copyright agencies to assist musical composers dealing with the tort was the most important factor. Furthermore, some other factors, offer other support and convincible authority of agencies, were still concerning by musical composers. This research offered some methods to choose optimal musical copyright agencies for musical composers and some suggestions to improve managerial functions for musical copyright agencies.