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1
Pang, Ming-wai, and 彭明慧. "Tonal and segmental perception in native Cantonese-speaking musicians, amateur musicians and non-musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206684.
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Tone matching, judgment and segmental judgment tasks conducted in silent reading and listening conditions are devised to test the hypothesis that musical training improves tone and segmental (onset, rime) perception in a tone language, Cantonese, in native Cantonese-speaking individuals. Four-word sequences (in which two words are primes and two are targets, or three words are primes and one is target) were presented to three groups of participants: professional musicians, amateur musicians and non-musicians in the silent reading condition, whereas four sound stimuli of Chinese characters were presented in the listening condition, and their accuracy and response time were recorded. Musicians, both professional and amateur, performed significantly better in tone and segmental perception than their musically naïve counterparts. Moreover, the response time exhibited a contrastive pattern in the two conditions: musicians tended to respond faster in the silent reading condition, but took a longer time in the listening condition.
These results clearly demonstrate that musical training facilitated the perceptual processing of Cantonese tone and segmental phonemes by native Cantonese- speakers. Music-to-language transfer effects are highlighted and the non-significant differences exhibited between professional musicians and amateur musicians in five out of six tasks show that musical training need not be pursued to an advanced level for participants to gain perceptual benefits. The results shed light on possible forms of remedial programme development and interventions for children with language disorders such as dyslexia.published_or_final_version
Linguistics
Master
Master of Philosophy
2
Renfrew, Mary Claire. "Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.
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The lived experiences of professional orchestral musicians are under-‐researched by scholars in both music and psychology, who are interested in the world of the professional orchestra and the careers of classical musicians. Framed within a Social Constructionist paradigm, the research in this thesis is concerned with investigating the subjective meanings and individual experiences of a group of ten classical orchestral musicians. Interpretative Phenomenological Analysis was the methodological framework chosen to design and analyse a set of open-‐ ended interviews with the musicians, which allowed reflexivity and flexibility throughout the research process. Three superordinate themes were identified from a close reading and IPA analysis of the interview data: ‘Musical Foundations’, ‘Struggle: “The Never Ending Quest”’ and ‘Thank You For The Music’. ‘Musical Foundations’ examines the process of musical identity construction for the ten participants, from its early beginnings in childhood, through adolescence and their time in the professional orchestra. Different facets of musical identity construction are outlined and becoming an orchestral musician is viewed as essentially a social process shaped by social interactions, building on a sense of possessing certain ‘innate’ characteristics. ‘Struggle: ‘The Never Ending Quest”’ illustrates the challenges the musicians encountered within the profession and the impact that being a professional orchestral musician had on other aspects of their lives (e.g. personal and social). The fear and conflict the ten musicians experienced is outlined and how the musicians coped and ‘survived’ within the professional orchestra is demonstrated. In addition, the central importance of the identity of ‘orchestral musician’ within the participants’ lives is illustrated. The last theme, ‘Thank You For The Music’ outlines why the musicians continued within the profession despite the struggles summarised by the previous theme. This chapter highlights the autonomy and control the musicians felt they gained within their orchestras and the physiological and emotional connections they experienced with both the profession and classic music itself. Common to all three superordinate themes is their reported power struggle between the musicians and the orchestra, and between the individual and the collective. Another common issue was how central the identity of ‘orchestral musician’ was for all participants, impacting all aspects of their lives. The professional musicians constructed, negotiated and maintained their musical identities in accordance with both their own expectations and those of the classical music genre itself. The research in this thesis raises awareness of the importance of the orchestral musician identity in the musicians’ lives and how an understanding of this can help gain an insight into other aspects of the participants’ lives. Recommendations are made for further research regarding: the lived experiences of classical music students, investigation of current teaching practices in conservatoires and further exploration of the professional structures within an orchestra.
3
Hakvoort, Laurien G. "Piano-improvisation skills of musicians versus non-musicians : implications for music therapy." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2265.
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The purpose of this study was to examine the improvisation skills of musicians and non-musicians. Fifteen musicians and 13 non-musicians completed a pre- and post-performance questionnaire and played a free improvisation on the piano. The free improvisations were rated by three independent observers using the Music Improvisation Rating scale, and the responses on the questionnaires were tabulated.
Results showed no difference between musicians and non-musicians for duration, expectation, self-reported interaction and satisfaction. There was, however, a statistically significant difference for judged interactions between the two groups. This may suggest that a client should not be excluded from music therapy because of lack of musical skills. The therapeutic and musical interactions, however, have to be handled and interpreted differently by the therapist. Working with musically skilled clients may require different interventions from working with musically naive clients.
4
Grieshaber, Kate. "Polymetric performance by musicians /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11345.
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Robinson, Tim. "How popular musicians teach." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/1219/.
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The present study asks how musicians who have learned outside the classical tradition teach others to play. A group of eight instrumental teachers were studied, all of whom grew up playing ‘popular', vernacular styles of music. While most of them had at least some experience of being taught classical music, they spent their formative years committed to largely self-directed learning, acquiring the skills they needed in order to play the styles that appealed to them at the time: namely rock, blues, jazz or folk. The teachers were interviewed about their learning histories and their teaching practice, and were filmed teaching a total of eleven students. There was a wide range of instrumental teaching strategies in evidence, from the orthodox teaching of classical music to lessons based entirely on listening and copying. However, in exploring the relationship between how this group learned to play and how they teach others to play, it was evident that they were not ‘teaching as they were taught', nor were they necessarily re-creating their own ‘informal' learning practices. Rather they were creating their own idiosyncratic teaching strategies, drawing on those elements of their own learning histories which they valued, and supplementing these with aspects of musical learning which they felt they had missed out on; in short, they were attempting to teach as they would have wanted to be taught themselves. Their teaching practice, and their sense of identity, was strongly influenced both by the economic realities of trying to survive as musicians, and by the nature of their students, who were generally viewed as relatively unmotivated. The study addresses an under-researched area of music teaching, and the findings are relevant to course designers, syllabus consultants and instrumental teachers generally, as well as music education researchers, in particular those interested in popular music and informal learning.
6
Tolmie, Diana Maree. "My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370346.
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For the last two decades, the discourse surrounding the education of the
professional musician has increased as traditional forms of music employment become
more competitive and the portfolio career has returned as an accepted mode of working
for musicians. Criticism of the nineteenth-century conservatoire model, which in turn
has led to the recommendation to embed an employability focus within degree programs
that fosters the development of industry-prepared musicians. To date, however, there
are few successful examples of this. This study investigates the design, development
and delivery of the My Life as a Musician (MLaaM) vocational preparation strand of
undergraduate courses that assist student musicians to prepare for their likely
employment, both before and after graduation. The thesis makes an original
contribution to higher education teaching and learning by documenting the processes
involved in developing employability education within an undergraduate music
curriculum.
Data collection involved a suite of research methods based on a grounded
theoretical approach that included autoethnography, practitioner action research, focus
groups of 44 Queensland Conservatorium Griffith University (QCGU) students, and
interviews with 12 faculty plus three Australian arts leaders, three Australian higher
education leaders and three Australian music industry lecturers. Further to this,
interviews with 15 South-East Queensland portfolio career musicians informed the
design of a 75-question survey to which 261 Australian portfolio musicians responded.
The findings revealed a shrinking and territorial music industry that has been
affected by macro-environmental forces, an increased professional musician population,
a lack of respect for the portfolio careerist, and cannibalistic employment practices. The
musicians indicated that opportunities exist to provide formal and informal vocational
preparation in the form of experiential learning for the acquisition of an extensive set of
hard and soft skills that support career sustainability. However, the research revealed 11
barriers to the success of this employment education. These involved students’
romanticised career aspirations, varying degree approaches, and professional identity
development from music student to student musician. In addition, the influence of a
master-apprentice model largely subscribing to an art for art’s sake approach to career development, rather than acknowledging the realities of the changing profession, further affected students’ acceptance of formalised vocational learning.
Combined with this qualitative and quantitative inquiry, an extensive literature
review of the music industry, musician identity, career theory and educational practice
has contributed to the development of a Conservatoire Student Lifecycle Model as the
foundation of the MLaaM strand. Implications for the further development of these
courses, ethical extracurricular programme activities, curriculum restructure and the call
for industry reform are discussed. The results of this study may hold relevance for those
wishing to instigate similar vocational preparation courses within undergraduate tertiary music programmes.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Schneider, Peter. "Source activity and tonotopic organization of the auditory cortex in musicians and non-musicians." [S.l.] : [s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=961907436.
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Wood-Gaines, Adam Matthew. "Modelling expressive movement of musicians." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24274.pdf.
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吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.
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Bayton, Mavis. "How women become rock musicians." Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/34719/.
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This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdly, all-women bands are examined, and the individual careers of the women who constitute them. An ideal-type model is constructed of the stages of a female band's career. It is concluded that, compared to male bands, there are a whole set of factors which make it more difficult for women's bands to be set up and continue along the career path. These factors have the strongest effect in the early career stages. Lastly, some non-typical career patterns are investigated, and particularly the strategies developed by feminist musicians as alternatives to the mainstream commercial path.
11
Nelson, Katie M. "Thomas Whythorne and Tudor musicians." Thesis, University of Warwick, 2010. http://wrap.warwick.ac.uk/36853/.
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The autobiography of Tudor musician Thomas Whythorne (1528-1596) is rich with self-exploration, social commentary and intimate storytelling. His story begins at childhood, then progresses chronologically as he gains an education, becomes a music master, and rubs shoulders with some of the most prominent people in England. This rich historical source has been strangely neglected, particularly by social historians, since its discovery in 1955. No one in any discipline has so far attempted an overall assessment of Whythorne the man, his work, and his significance. This is my aim. Working outwards from a close examination of his unique manuscript (Bodleian MS. Misc.c.330), this study hopes to shed new light on the music profession in early modern England. Whythorne adds considerable clarity of focus to the professionalization of music in the sixteenth century, as seen through the eyes of one of its advocates. Chapter 1 reviews Whythorne’s own life story and compares it with available external evidence. Chapter 2 proceeds to mine the manuscript itself for further evidence of Whythorne’s motives and methodology, offering a number of new hypotheses regarding the dating, content, and structure of the manuscript. Chapters 3 and 4 explore the nature of the Tudor musical profession, proposing and exploring a ‘spherical’ model of the music profession (in place of a hierarchical model). These chapters examine the various ‘spheres’ or types of musicians in turn, comparing Whythorne’s descriptions to external evidence. Chapter 5 then examines private music tutors in greater depth, as this group have previously remained very shadowy figures. Finally, Chapter 6 examines the world of early music printing in England, and Whythorne’s pioneering place in it. It also explores the nature and function of his self-fashioning, arguing that Whythorne constructed an identity well outside the realm of the generic. By viewing early modern society through Whythorne’s lens and comparing it to contemporary sources, we can shed new light on early modern musicians in England, and on the society in which they lived.
12
Marshall, Anne Jessamine. "Perspectives about musicians' performance anxiety." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23579.
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The aim of the study was to explore the sources concerning musical perspectives about performance anxiety and their influence on musicians. Since this study is a review of the available literature on this topic, I used mainly books, articles and reported case studies. The problems encountered while writing this dissertation were the lack of material available on the subject of using music to deal with musicians who suffer from performance anxiety. Musicians listen to music differently from non-musicians, and therefore, when using music to deal with their performance anxiety, a different approach would have to be used. In this dissertation four main perspectives of music and their relationship to performance anxiety are discussed. My general conclusion is that, although each theory sees performance anxiety through a different light, they all have the same general thinking about performance anxiety. Performance anxiety has to be dealt with separately and differently with each musician. Unfortunately there is no set pattern or plan that can be set down to alleviate performance anxiety. However, common symptoms and useful ways to deal with them are discussed. One very important point that I realised early on in my dissertation, was that performance anxiety has to be dealt with at an early age. Young musicians often suffer severely from performance anxiety. If this can be recognised early in musicians’ careers, they will start to learn to cope with the symptoms; it will become part of their learning process as musicians. I feel that there could be a more open approach to performance anxiety. Performance anxiety is often seen as a sign of weakness and is therefore often not discussed openly. The music therapist Pixie Holland says that people with a lot of stress in their lives are often not willing to admit that they have a problem coping with stress. Therefore, the first step to dealing with performance anxiety is for musicians to admit that they suffer from it and cannot cope with it by themselves. I recommend to musicians to read as much as possible about the subject of performance anxiety. The more one knows what happens while suffering from performance anxiety, the easier it might be to deal with it. Even though there is much documentation and literature available on the subject of using music to relieve anxiety and stress, there was only a small amount available on the specific use of music to relieve musicians’ performance anxiety. I therefore recommend further study on the effects of music on performance anxiety that musicians suffer in a musical performance situation. CopyrightDissertation (MMus)--University of Pretoria, 2010.
Music
unrestricted
13
Ross, Larry. "Jazz musicians in the diaspora /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9946292.
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Robertson, Alexandra Leigh. "Hemispheric asymmetry of usage-dependant plasticity in the motor cortex of musicians and non-musicians /." Title page and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09SBS/09sbsr6491.pdf.
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Baker, Geoffrey. "Music and musicians in colonial Cuzco." Thesis, Royal Holloway, University of London, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268415.
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Lloyd, Thomas. "Do musicians dream of electric violins?" Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/do-musicians-dream-of-electric-violins(10848ad8-7e42-40e3-9131-762ea607ea91).html.
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Yes. While the results presented in this thesis declare that listeners prefer the recording of an acoustic instrument, there is still a positive response about virtual violins, especially when compared to an unfiltered electric instrument. In this context a virtual violin is the result of convolving the raw signal from an electric instrument with the impulse from a real violin. A key part of this process is the characterisation of this impulse response, of which there are several methods. This thesis explores the use of virtual violins in acoustics research and music performance. The opening chapters provide an overview of the literature about violin acoustics and previous uses of virtual violins. A significant portion of the thesis details the development of a system that is used to produce digital characterisations of violins. The method used involved the measurement of sound radiation from the violin body after it had been excited by an impulse. This impulse is provided by an instrumented hammer, which strikes the violin on the bridge. One of the pitfalls of this method is the imperfect frequency response of the strike, which is corrected using a deconvolution algorithm. Deconvolution is an important part of the process and is discussed at length in the thesis. The described characterisation system utilised a bespoke frame that could hold the violin by the neck and rotate it to a specific angle on a single plane. This enabled the characterisation of a violin at incremental angles. Not only can these characterisations be used for the development of virtual violins, but they can also be used to analyse the spectral properties of the instrument. These characterisations at different angles allowed an examination of the violin's directivity, which explored how the sound energy is distributed from the instrument. Analysis determined that in the mid-range (C4-B5) the sound distribution is fairly isotropic. Outside of these ranges the sound distribution is significantly anisotropic. Finally, the thesis details three psychoacoustic experiments where participants listened to different audio samples and rated them according to their personal preference. The first of these had five virtual violins, of various manufacturers and ages, along with an unfiltered electric instrument. Listeners of mixed musical ability were asked to listen to recorded samples of these instruments and to provide preference scores for each. The experiment found that listeners preferred the sound of virtual violins to the unfiltered electric. The next experiment presented musically trained participants with samples of a virtual violin with varying impulse response lengths. This revealed that there was a sigmoid shaped relationship between the number of coefficients of the violin's impulse response and the listener's preference score. The final experiment was designed to examine the preference scores towards a recording of a real violin and its emulated equivalent. Participants of two groups, one with musical training and one without, took part in the study. The results showed that the real violin was preferred to the emulated violin and that musical training did not have any effect on the preference scores. The statistical analysis also determined that there was no interaction between violin treatment and musical training. An additional question was also posed to the participants post-experiment: Which of the presented samples is the real instrument? The results showed that those with musical training were significantly better at identifying the real instrument compared to those without such training. Speculation is drawn as to why this might be, though it is speculated that the spatial effects, such as those described by Weinreich, had no effect.
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Swart, Inette. "The influence of trauma on musicians." Thesis, University of Pretoria, 2010. http://hdl.handle.net/2263/24870.
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The aim of this study was to shed light on the influence of trauma on aspects of musicians’ music-making, particularly but not exclusively limited to its effects on emotional expression and memory during music performance and study. Effects on performers and teachers were considered, explicated and discussed in the light of the rapidly expanding body of knowledge about factors involved in psychological sequelae following exposure to traumatic event(s). Examples are given of how trauma has affected famous musicians and composers. Questionnaires sent to healthcare professionals and music teachers and four case study investigations illuminated specific signs of trauma. Findings underlined that, while responses to trauma are always of a very individual nature, these often particularly affected emotional expression and altered the perceived experience of emotions. Dissociative symptoms were found to affect memory and concentration. Trauma sequelae caused interference, drained energy levels, affected motivation, interpersonal relationships and self-esteem but also led to growth and trauma-catalyzed transformation. Anxiety and tension-related problems had pronounced effects on music performance and high levels of ‘stage fright’ were reported by previously traumatized participants. Trauma was shown to influence the career paths and decisions of musicians. As gleaned from the literature and research surveys, the following therapeutic approaches appear to be effective: Psychotherapy, trauma counselling, Cognitive-Behavioural therapy, hypnotherapy, EMDR (Eye Movement Desensitization and Reprocessing), EMI (Eye Movement Integration), pharmacological treatment, natural supplements, body therapies such as SE (Somatic Experiencing) and complementary techniques such as acupressure. Sound and music were identified by respondents and participants as playing an extremely beneficial role in the healing process. The possible benefits of incorporating alternative healing modalities are discussed, but it is made clear that this should only be used in conjunction with scientifically proven and thoroughly researched psychotherapeutic intervention strategies. This study’s results, appropriately disseminated, are intended to increase awareness and knowledge in performers and teachers, and enable particularly teachers to refer students to appropriate healthcare services in ways not risking further traumatization. Findings can assist healthcare professionals to better understand particular manifestations of trauma responses in musicians and enable them to intervene in more effective ways.Thesis (DMus)--University of Pretoria, 2010.
Music
unrestricted
18
Kan, Anna. "Undergrounded : Leningrad rock musicians, 1972-86." Thesis, University of Bristol, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738196.
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Sutton, Matthew Daniel. "Storyville: Discourses in Southern Musicians' Autobiographies." W&M ScholarWorks, 2011. https://scholarworks.wm.edu/etd/1539623346.
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This study utilizes many of the tools of the literary critic to identify and analyze the discursive conventions in autobiographies by American vernacular musicians who came of age in the American South during the era of enforced racial segregation. Through this textual analysis, we can appreciate this seemingly amorphous collection of books as a continuing conversation, where descriptions of the South and its music by turns confirm, contradict, and complicate each other. Ultimately, the dozens of southern musician autobiographies published in the last fifty years engage in a valuable and revealing dialogue, creating a virtual "Storyville"; ostensibly disparate works share themes, ideas, and literary approaches, while each narrative is distinguished by unique motifs, idiosyncrasies, and digressions.;From this crosstalk emerges a rich history informed by local knowledge as well as a larger, multifaceted portrait of now-vanished musical communities, such as Storyville-era New Orleans and the Mississippi Delta juke-joint circuit. In collaboration with co-authors, southern musicians typically employ a hybrid discursive style that attempts to balance personal subjectivity with historical authority. This narrative approach encompasses literary devices---such as free indirect discourse and paralepsis---and the "thick description" common in the social sciences. Through this reportage, musicians establish themselves as uniquely positioned organic intellectuals and citizen-historians of their respective places and times. Read collectively, musicians' published reminiscences provide important and overlooked first-person reflections on life in the Jim Crow South.
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Barbeau, Audrey-Kristel. "Performance anxiety inventory for musicians (PerfAIM): a new questionnaire to assess music performance anxiety in popular musicians." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104539.
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The goal of this research project was to develop and validate a new measure that establishes the extent to which highly stressful performance situations affect self-perceived levels of Music Performance Anxiety (MPA) in popular musicians. The Performance Anxiety Inventory for Musicians (PerfAIM), a self-report measure demonstrating appropriate psychometric properties, was developed. The specific objectives of this research project were to estimate the validity of the questionnaire and to assess its reliability. Content validity and face validity were established using focus groups and interviews with experts. A sample of 69 popular professional musicians and music students completed the inventory, with which we established the internal consistency, the test-retest reliability, the concurrent criterion-related validity and the construct validity (convergent and divergent). Among the sample, 66 participants completed the Performance Anxiety Inventory (PAI, Nagel, Himle, & Papsdorf, 1989), and 61 respondents, the revised Kenny Music Performance Anxiety Inventory (revised K-MPAI, Kenny, 2009a). A test-retest was done at a one-week interval using a sample of 21 musicians. The PerfAIM demonstrated an excellent internal consistency (Cronbach's alpha=0.93), a very good reliability (ICC=0.89 with 95% CI), and a satisfactory concurrent criterion-related validity and convergent validity (Pearson product-moment correlation coefficient). No significant difference was found between men and women's scores on the PerfAIM. In conclusion, the PerfAIM is an adequate measure for assessing self-perceived levels of MPA, enabling musicians to develop self-awareness of the causes, temporal occurrence, direction, and cognitive, somatic, affective and behavioral manifestations of MPA.Ce projet de recherche visait à développer et à valider un nouveau questionnaire permettant d'évaluer dans quelle mesure les performances hautement stressantes affectent la perception du niveau d'anxiété de performance musicale (APM) des musiciens populaires. À cet effet, nous avons créé le «Performance Anxiety Inventory for Musicians » (PerfAIM), un questionnaire auto-administré démontrant des propriétés psychométriques satisfaisantes. Les objectifs spécifiques de ce projet consistaient à évaluer la validité et la fidélité du questionnaire. La validité de contenu et la validité apparente ont été établies avec des groupes focus et des entrevues auprès d'experts. Un échantillon de 69 musiciens populaires (professionnels et étudiants) ont complété le questionnaire, ce qui a permis d'établir la consistance interne, la fidélité test-retest, la validité de critère concomitante ainsi que la validité de construit (convergente et divergente). Parmi l'échantillon, 66 participants ont complété le « Performance Anxiety Inventory » (PAI, Nagel, Himle, & Papsdorf, 1989), et 61 répondants, le « Kenny Music Performance Anxiety Inventory » révisé (revised K-MPAI, Kenny, 2009a). Le test-retest a été fait à une semaine d'intervalle auprès d'un échantillon de 21 musiciens. Le PerfAIM démontre une excellente consistance interne (alpha de Cronbach=0.93), une très bonne fidélité (CCI=0.89 avec un IC à 95%), et une validité de critère concomitante et de construit convergente satisfaisantes (calculées à l'aide d'une corrélation de Pearson). Aucune différence significative n'a été démontrée entre les résultats des hommes et des femmes dans le PerfAIM. En conclusion, le PerfAIM est un questionnaire approprié pour l'évaluation de la perception du niveau d'APM des musiciens, permettant à ces derniers de prendre conscience des causes, des occurrences temporelles, de la direction, et des manifestations (cognitives, somatiques, affectives et comportementales) de l'anxiété de performance.
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Dufour, Valérie. "Stravinski et les exégètes: positions critiques et stratégies discursives, 1910-1940." Doctoral thesis, Universite Libre de Bruxelles, 2004. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/211125.
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Alghamdi, Jamaan Salem. "A multi-modal investigation of structural and functional neural bases of pitch discrimination in musicians and non-musicians." Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569115.
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Musicians represent an ideal model for understanding experience-driven neuroplasticity in the human brain, especially in auditory and motor domains. Musicians exert intensive and durable practice of various multimodal skills (e.g., motor, auditory, visual and memory). It has been reported that certain regions of the adult musicians' brains are structurally larger than non- musicians. Also musicians demonstrate more sensitive pitch discrimination abilities compared to non-musicians because pitch labelling plays an important role in music. Music is made of a highly structured and complex succession of tones that arranged in a specific rhythm and played at specific pitch. In this thesis I aimed to; (1) Explore the influence of musical proficiency on pitch discrimination ability with investigating the laterality pitch discrimination ability and exploring some factors that could affect pitch discrimination ability such as aging, type of musical instrument and duration of musical proficiency. (2) Investigate anatomical plasticity of selected brain structures in musicians with exploring musical proficiency and the instrument type effect on sulcal and gyral topography. (3) Study the correlations between pitch discrimination performance and some cortical features of selected brain structures. (4) Investigate tonotopic mapping in the human auditory cortex using functional magnetic resonance imaging and (fMRI) and magneto encephalography (MEG). (5) Examine the influence of musical proficiency expertise on frequency organization and cortical activation of the human auditory cortex. Different structural methods were implemented to study differences between musicians and non-musicians in some structural features. FMRI and MEG were used to study tonotopic mapping in the human auditory cortex. During pitch discrimination tasks, musicians demonstrated more sensitivity than non-musicians. Musicians also showed significantly larger volume in various brain regions and shape differences in sulcal and gyral anatomy and the right hippocampus. Additionally, there were significant correlations between pitch discrimination performance and different structural measurements. Musicians had stronger BOLD fMRI in the medial and lateral part of the left HG. ANOVA tests of the amplitude of neuromagnetic N100 component showed a group effect of borderline significance. Results clearly show behavioural, structural and functional differences between these two groups. These results indicate that the morphology and neurophysiology of various brain regions and the pitch labelling have an essential role in musical proficiency.
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Lund, Monique Anne. "Performance of musicians and non-musicians, on a battery of audiological central auditory processing tests : a comparative study." Master's thesis, University of Cape Town, 2002. http://hdl.handle.net/11427/3420.
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Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.
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Thesis (D.M.A.)--University of Oregon, 2002.Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.
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Talbert, Matthew D. "Adult amateur musicians and melodic error detection." Thesis, University of South Carolina, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3561877.
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The purpose of this study was to examine influences on melodic error detection ability of adult amateur musicians; specifically, listening-condition, age, and years of experience. Following are the specific research questions of this study: 1) Are there differences in error detection with regard to listening condition? 2) What are the relationships between age and years of experience on error detection ability? 3) What are participants' perceptions of melodic error detection thought processes?
Participants (N=33) met with the investigator individually to complete a melodic error detection task. Each participant listened to three melodies and performed three melodies, noting any perceived melodic errors they may have heard. After providing each participant a 10-second time period to examine the melodic notation, the investigator asked each participant to identify any errors he/she may have perceived in each melody, while either a) listening to the melodies or b) playing the melodies. Participants responded by circling the errors on the error detection form provided by the investigator. Three of the melodies did not contain melodic errors; three melodies contained specific melodic errors (i.e. incorrect interval).
Results indicated a high overall success rate in error detection tasks under both listening and playing conditions, although participants tended to be significantly more successful under the playing condition than under the listening condition. Findings of correlations among age and experience suggest no significant influence of these variables on error detection ability. In general, participants' perception of the difficulty of error detection tasks were not accurate; they tended to perceive tasks as difficult even though they demonstrated high rates of success in locating and identifying melodic errors in both listening and playing conditions.
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Rodger, Matthew William MacDonald. "Musicians' body movements in musical skill acquisition." Thesis, Queen's University Belfast, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.527950.
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Howard, Robert Andrew. "PhD in composition : mainly for amateur musicians." Thesis, Goldsmiths College (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412916.
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Munro, Gordon James. "Scottish church music and musicians, 1500-1700." Thesis, Connect to e-thesis, 1999. http://theses.gla.ac.uk/882/.
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Capell, Jacquelin. "Playing related musculoskeletal disorders in instrumental musicians." Thesis, The University of Sydney, 2005. http://hdl.handle.net/2123/16154.
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Austin, Tara Ashley. "Stress and Anxiety Interventions for Classical Musicians." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/7248.
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This meta analysis looks at the results of performance anxiety related interventions with musicians. This meta analysis results from all found studies on computerized databases including National Library of Medicine's PubMed, dissertations and Theses (ProQuest), PsycINFO, and Oxford Journals Database. They range from cognitive interventions, behavioral interventions, mediation, and biofeedback. The results are primarily drawn from participant<'>s self report before and after the intervention. They were coded for length of intervention, number of participants, level of participant (students or professionals), type of intervention, self report measures used, and the effect size of the intervention. The overall effect of all 17 studies involved in the meta analysis was (Hedge<'>s g -0.627, 95% CI [-0.926, -0.384], p<.000). The interventions were significantly different, with largest effect sizes in combination interventions (Hedges g = -0.813, 95% CI [-1.171, -.456], p>.000), followed by physiological interventions with an effect of (Hedges g = -0.638, [-1.111, -.164], p=.008), and purely cognitive interventions having the smallest effect size (Hedges g = -0.455, 95% CI [-0.757, -.153], p=.003).
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Talamini, F. "The memory skills of musicians and nonmusicians." Doctoral thesis, Università degli studi di Padova, 2019. http://hdl.handle.net/11577/3426847.
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Musicians seem to have superior abilities than those of nonmusicians, that are not just music-related but that extend to classic auditory and even cognitive tasks, in particular memory tasks. However, concerning memory, results tend to vary depending on the memory system investigated (i.e., long-term, short-term, working memory) and on the category of stimuli that are presented (e.g., verbal, visuospatial).
The present research project investigated the memory skills of musicians and nonmusicians, with the final goal of clarifying which (if there are some) characteristics of musicians are linked to better memory skills and if this advantage is general or depends on specific tasks or content of the tasks.
Study 1 investigated the literature on memory skills of musicians and nonmusicians through a meta-analysis. Three meta-analysis were conducted separately for long-term memory, short-term memory, and working memory. The effect of moderators was also tested; defined as the type of stimuli presented in the memory task (i.e., verbal, visuospatial, and tonal). The three meta-analyses revealed a medium effect-size in working memory and short-term memory (i.e., there is a moderate difference between musicians and nonmusicians) with effect of moderators. The advantage of musicians was larger for tonal and verbal stimuli and smaller for visual ones. In long term memory the effect-size was small, with no effect of moderators.
Study 2 aimed to understand if the advantage found in verbal working memory depended on the modality in which the task was delivered (i.e., stimuli presented auditorily or stimuli presented visually). 18 musicians and 18 nonmusicians performed a digit span task that was presented aurally, visually, or audiovisually. The task was performed with or without a concurrent task (i.e., articulatory suppression). Results showed that musicians had significantly larger spans than nonmusicians regardless of the sensory modality and the concurrent task. Secondary analyses showed that the advantage was more evident when the digits were delivered auditorily and audiovisually.
Study 3 aimed to investigate the individual differences among musicians. In particular, the goal was to understand whether the type of music training (classic vs self-taught) could influence the advantage of musicians over nonmusicians in verbal working memory skills, always taking into account the modality of presentation of the verbal stimuli (i.e., visual vs auditory). 102 young adults participated to the study: 33 reader musicians (i.e., that could read music notation), 33 nonreader musicians (i.e., self-taught, that could not read music notation), and 36 nonmusicians A digit span forward and backward was presented in three different modalities, alike study 2. Results showed that reader musicians, nonreader musicians and nonmusicians performed equally well in the digit span forward. However, the group interacted with the modality, revealing that reader musicians performed better than nonmusicians in the audiovisual presentation of digits. No other difference was found. In the backward digit span no difference among groups was found.
Study 4 aimed to understand whether the superiority of musicians in short-term memory extends to auditory and visual stimuli that are not verbal and not musical. 36 young adults participated to the study, 24 nonmusicians and 12 professional musicians. A verbal memory task was also included as control measure. In the short-term memory tasks, two sequences of elements were presented, with a short delay in between. The participant had to judge whether the second sequence was the same or different from the first. The types of stimuli composing the sequences where the following: verbal stimuli (i.e., syllables, presented either visually and auditorily); visual contour stimuli (i.e., luminance variations); auditory contour stimuli (i.e., loudness variations); visual nocontour stimuli (i.e., kanji ideograms); auditory nocontour stimuli (i.e., pink noises). Results showed that musicians outperformed nonmusicians in the short-term memory task with the auditory contour and nocontour stimuli, and with the visual contour stimuli.
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DAVANZO, NICOLA. "ACCESSIBLE DIGITAL MUSICAL INSTRUMENTS FOR QUADRIPLEGIC MUSICIANS." Doctoral thesis, Università degli Studi di Milano, 2022. http://hdl.handle.net/2434/920339.
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This thesis explores a particular research topic in the field of Sound and Music Computing, dedicated to the creation of Accessible Digital Musical Instruments (ADMIs) designed for users affected by quadriplegia or similar motor impairments. With such conditions an user is completely paralyzed from the neck down.
The impossibility to control the upper and lower limbs, particularly fingers, makes it impossible for such users to play conventional musical instruments, both acoustic and digital. This makes it necessary to introduce specific and non-trivial design and development solutions.
A first part of the work is dedicated to the analysis of the related context. After defining the pertinent jargon, an analysis of different physical interaction channels available to people with quadriplegic disabilities is provided, with a review of the sensors suitable for their detection. Some of these channels are then evaluated through an experimental methodology. Further chapters provide an analysis of the state of the art in ADMIs for quadriplegic users, as well as design tools dedicated to ADMIs in general. A chapter is dedicated to the design of musical interfaces controlled through gaze, one of the most employed channels in this context.
The second part describes the design, development and testing of new ADMIs suitable for quadriplegic users. The implementation of a software library for developing or fast-prototyping software instruments is described, as well as two Open-Source Hardware sensor peripherals developed ad-hoc for the detection of breath and head rotation. The remaining chapters describe the design, implementation and evaluation of Netytar, Netychords and Resin, three ADMIs that are played through the detection of gaze, breath, head movement, and stimulated resonances in the upper vocal tract, therefore playable hands-free.
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Schmidt, Brian Matthew. "Pyschometric Evaluation of the Musculoskeletal Pain Questionnaire for Musicians and the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians." Thesis, North Dakota State University, 2017. https://hdl.handle.net/10365/28398.
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There is currently no standard method to measure the incidence and prevalence of musculoskeletal injury among musicians. The purpose of this study was to evaluate the validity and reliability for the Musculoskeletal Pain Questionnaire for Musicians (MPQM) and the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM) in collegiate musicians. Participants completed a packet containing the MPQM and MPIIQM, with two baseline instruments (SF-36 and QuickDASH). Convergent validity was evaluated using a correlation between the scores of the baseline instruments and the MPQM and MPIIQM. Reliability was evaluated using the split-half method and Cronbach?s alpha. The readability was evaluated with the Flesch-Kincaid score. The MPQM and MPIIQM showed weak correlations to the SF-36 and moderate correlations to the QuickDASH and the sports/performing arts optional module. Both showed strong reliability and good readability. Both should be used with caution in future research.
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Jordan, Catherine. "Exploring a possible tonal loop in musicians and non-musicians and the relationship between musical expertise and cognitive ageing." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31077.
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This thesis explored two main research questions, firstly investigating whether musical expertise offers a performance advantage in working memory for sequences of tones that vary in pitch, and secondly whether any advantage of musical expertise may be present in older as well as younger individuals. Previous research on working memory for tone sequences has reported that articulatory suppression interferes with temporary storage of verbal but not with tone sequences (Koelsch et al, 2009), suggesting a “tonal loop” within a musician’s working memory (Schulze, Zysset, Mueller, Friederici, & Koelsch, 2011) that complements the phonological loop for verbal material in musicians and non-musicians alike (e.g., Baddeley, 1986; 1992). The five experiments reported here explored detection of a pitch change between pairs of tone sequences with or without concurrent articulatory suppression or singing suppression. In Experiment 1, with pairs of auditory tonal (in a musical key) sequences to be compared, singing suppression impaired non-musicians significantly more than musicians, although both groups showed an impairment, whereas only non-musicians were affected by verbal articulatory suppression. In Experiment 2, conducted only with musicians who could read music, the first sequence of each pair was presented visually and the second sequence for comparison was presented aurally. Musicians were again impaired by singing suppression but not by articulatory suppression. For Experiment 3, for auditory atonal (no musical key) pairs of sequences, non-musicians performed at floor, and musicians were again significantly more impaired by singing suppression than by articulatory suppression. In contrast, for Experiment 4, only with musicians who could read music, for visually presented atonal sequences each followed by an auditory atonal sequence for comparison, musicians were significantly more impaired by articulatory suppression than singing suppression. These results suggest that for tonal sequences, musicians use their musical training and experience, coupled with subvocalised singing, but for atonal sequences, additional strategies involving phonological rehearsal may be used. Non-musicians may also rely on musical experience and subvocal singing for tonal sequences but seem to be unable to do so for atonal sequences. Results are consistent with the use by both musicians and non-musicians of a tonal loop for the rehearsal of tone sequences, which develops with musical training and may be used in addition to subvocal rehearsal. Previous research has suggested musical expertise may offer some protection against cognitive ageing (Hanna-Pladdy & MacKay, 2011; Amer, Kalender, Hasher, Trehub, & Wong, 2013). Experiment 5 in this thesis explored whether a lifetime of musical training and experience may offer the same advantages in old age for retaining tone sequences that had been found in Experiments 1 and 3 for younger musicians. This experiment also considered whether any advantage for older musicians on this task could be explained by the proposed “bilingual advantage” (e.g., Bialystok, Craik, Klein & Viswanathan, 2004), and what other aspects of cognition might be associated with tone sequence memory performance. A test battery was utilised with 74 older adults (60-80 years of age) to assess the influence of musical and language expertise, and cognitive abilities (attention, working memory capacity, self-reported prospective and retrospective memory) on the music-related pitch sequence comparison task from Experiments 1 and 3. Working memory capacity was found to predict individual differences in the ability to detect pitch changes between pairs of tone sequences, regardless of musical experience. Older musicians performed more poorly on the pitch change detection task overall than the younger musicians in the earlier experiments, but their performance on the task was significantly better than for age-matched non-musically trained peers who were close to floor for both tonal and atonal sequences, suggesting some benefit from a lifetime of musical experience.
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Gioanni, Florence. "La société aristocratique française du XVIème siècle et la musique le cas de Marguerite de Valois (1553-1615) /." Villeneuve d'Ascq : Presses universitaires du Septentrion, 1996. http://books.google.com/books?id=5DizAAAAIAAJ.
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Bennett, Dawn Elizabeth. "Classical instrumental musicians : educating for sustainable professional practice." University of Western Australia. School of Music, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0002.
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[Truncated abstract] This study extends understanding of the careers of classical instrumental musicians within the cultural industries, and ascertains the extent to which professional practice is reflected within current classical performance-based music education and training. Little is known about the careers of classically trained instrumental musicians in terms of the activities in which they engage and the skills and attributes used to sustain their professional practice, and there is also widespread lack of understanding about the music industry and the wider cultural industries. The extent to which education and training reflects the careers of music performance graduates has gained heightened exposure at the same time as higher education institutions have become increasingly accountable for the employability of graduates, and yet much of the available literature has only tangential relevance and there remains a shortage of literature relating to the complex area of creative practice. The research approach for the study bridges both the interpretive and normative paradigms. Using survey and interview methods, the study employs three distinct but interrelated data collections to investigate sustainable professional practice through analysis of musicians’ careers, performance-based education and training, and the cultural industries. The study identifies the longitudinal characteristics of musicians’ professional practice and presents in a conditional matrix the intrinsic and extrinsic influences that impact upon it. The study proposes a practitioner-focussed Arts Cultural Practice (ACP) framework that consists of four practitioner-focussed, non-hierarchical groups which were determined through analysis of the major foci characterising roles within the cultural industries. As such, the ACP framework represents a new paradigm of sustainable practice that circumvents existing barriers; submitting a non-hierarchical view of cultural practice that clearly indicates the potential for an exciting diversity of holistic practice often not considered by practitioners. The ACP curricular model posits the collaborative delivery of generic skills across artforms. This study substantiates the generic skills used by artists throughout the cultural industries, and confirms the rationale for education and training which considers the sustainability of music graduates’ careers as arts cultural practitioners. Thus, individual strengths and talents should be developed according to the intrinsic and extrinsic influences which drive the passion for arts practice.
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Fulford, Robert James. "Interactive performance for musicians with a hearing impairment." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/400/.
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How can we perceive music if we cannot hear it properly? The achievements of deaf musicians suggest it is possible not only to perceive music, but to perform with other musicians. Yet very little research exists to explain how this is possible. This thesis addresses this problem and explores the premise that vibrations felt on the skin may facilitate interactive music making. An initial interview study found that, while vibrations are sometimes perceived, it is predominantly the use of visual and physical cues that are relied upon in group performance to help stay in time and in tune with other players. The findings informed the design of two observation studies exploring the effects of i) artificial attenuation of auditory information and ii) natural deafness on performance behaviours. It was shown that profound congenital deafness affected the players' movements and their gazes/glances towards each other while mild or moderate levels of attenuation or deafness did not. Nonetheless, all players, regardless of hearing level, reciprocated the behaviours of co-performers suggesting the influence of social factors benefitting verbal and non-verbal communication between players. Finally, a series of three psychophysical experiments was designed to explore the perception of pitch on the skin using vibrations. The first study found that vibrotactile detection thresholds were not affected by hearing impairments. The second established that the relative pitches of intervals larger than a major 6th were easy to discriminate, but this was not possible for semitones. The third showed that tones an octave apart could be memorised and identified accurately, but were confused when less than a perfect 4th apart. The thesis concludes by evaluating the potential of vibrotactile technology to facilitate interactive performance for musicians with hearing impairments. By considering the psychophysical, behavioural and qualitative data together, it is suggested that signal processing strategies in vibrotactile technology should take social, cognitive and perceptual factors into account.
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Edmonson, Jordan. "Predictors of Music Performance Anxiety in Adolescent Musicians." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011842/.
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Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter, or only trying to avoid being the worst in the class. A sample of adolescent wind musicians (n = 68) were administered four self-reporting measures for the predictor variables and music performance anxiety. Catastrophization, self-regulation, and goal-setting style were all statistically significant in predictor music performance anxiety, with catastrophization alone explaining 69% of the variance in the predictor variable. Overall, the whole model was able to explain 46% of the variance in music performance anxiety.
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Kuntz, Tammy L. "Self-Reported Personal Traits of Adult Amateur Musicians." Case Western Reserve University School of Graduate Studies / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=case1342724153.
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Olding, Christine Jane. "Composing Processes of Musicians: A Case Study Approach." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1572872308873529.
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Fleet, Emma. "Warm-ups for Musicians: Systematized and Terminology Reviews." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/41615.
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Context: Many musicians experience playing-related pain and injuries. One of the recommended injury prevention strategies is to warm-up prior to playing a musical instrument. However, this recommendation is not always supported with empirical data. Additionally, multiple terms are used to describe warm-ups and may differ between authors, creating confusion around this injury prevention strategy. Objectives: The objectives of this thesis are to search for evidence-based studies that would support the benefit of warm-ups for musicians, reduce the confusion around musicians’ warm-ups, and bring clarity to the definition of warm-up. Methodology: In order to do so, this thesis presents two studies. The first study consisted of doing a systematized review of English published articles in order to identify if there was evidence to support the statement that warm-ups prevent injury. The methodology and results of each included article were evaluated using the American Academy for Cerebral Palsy and Developmental Medicine (AACPDM)’s levels of evidence. The second article consisted of a terminology review and taxonomy in order to identify terms, organize them into categories and define warm-ups. The corpus contained the same articles that were included in the systematized review. Terms were identified from the corpus and the most frequently mentioned terms were used for the definition of warm-up. Terms were also categorized in a taxonomy in order to illustrate the different types of warm-ups that are recommended to musicians. Results: Twenty-nine studies were included in the analysis of the systematic review. Of these 29 studies, only one ranked at level I, which is the highest level of evidence, and most studies ranked at level V. The one study that was ranked at level I indicated that all three tested warm-up conditions did not have a muscular effect. Therefore, at the moment, there seems to be no evidence that supports the statement that warm-ups prevent injury. The terminology review led to the following definition of warm-up: “A routine, habit or exercise(s) that is/ are completed prior to playing repertoire or learning new material on a music instrument in order to prepare physically and mentally the musician. The following can be included as part of a musician’s warm-up: physical warm-up (completed without the instrument, for example stretches), musical warm-up (completed with the instrument, for example: scales, familiar tune/ favorite tune, long tones), and psychological warm-up.” It was also determined that stretching should also be defined as it is not always perceived as a warm-up. Stretching was defined as “Slow, controlled and progressive movements that are maintained for at least 20-30 seconds. These are done at various intervals throughout the day such as prior, during (breaks), and after the practice of a music instrument. They are referred to as physical exercises (away from the instrument). The following are some examples of stretching exercises: wrist rotations, forward neck roll, oppositional finger-wrist press, hand-finger extensions, fist clench and unclench, arms-bicep curls, handshakes, arms-triceps extension, and fingers clenched and unclenched.” The taxonomy indicated three warm-up categories: physical, musical and psychological. The physical and musical warm-ups were then subcategorized. It was not possible to subcategorize psychological warm-ups due to a lack of definition and examples in the literature. This study was a first step towards standardization, but further research is necessary in order to standardize a methodology and protocol.
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Kylmänen, Ester, and Emma Tysk. "Online networking and real-time interaction for musicians." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-446815.
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Despite the many technological advancements made in the music industry in recent years, there is still not a single widely adopted platform for musicians to play music together online. In 2020, the Covid-19 pandemic and the subsequent quarantine pushed the need for such a platform into the spotlight. As a response, the music company Elk Audio launched their new product: Aloha. Aloha is a combined hardware and web application that allows musicians to play music in real-time over the Internet. Aloha is currently only intended for musicians who already know each other to connect and play. However, Elk's ambition is to make it the go-to platform for musicians to expand their network. The purpose of this Master's Thesis is to design the next version of the web application of Aloha, focusing on social interactions. This Master's Thesis investigates musicians' current social and musical behaviour, and their opinions of how this can be done online. Qualitative data was collected by performing semi-structured interviews with musicians of different backgrounds. The study revealed many different goals and needs of potential users of Aloha. Furthermore, we found several determining factors which enable and encourage musicians to form new musical relationships online. The final suggested design is based on the analysed data and founded in theory regarding persuasive and recommending system design, among others.Trots de tekniska framstegen som gjorts inom musikindustrin de senaste åren, finns det fortfarande inte ett enda allmänt accepterat alternativ för musiker att spela musik tillsammans online. Covid-19 pandemin och den åtföljande karantänten förde behovet för en sådan plattform till rampljuset. I början av år 2020 insåg musikföretaget Elk Audio att de kunde fylla denna lucka med sin nya produkt: Aloha. Aloha är en kombinerad hårdvara och webbapplikation som möjliggör musiker att spela musik i realtid över Internet. Aloha är för närvarande endast avsedd för musiker som redan känner varandra. Elks ambition är dock att göra Aloha till en plattform för musiker där de kan utöka sitt musikaliska nätverk. Syftet med detta examensarbete är att utforma nästa version av Alohas webbapplikation, med fokus på sociala interaktioner. Detta examensarbete undersöker musikers nuvarande sociala och musikaliska beteenden och deras åsikter om musikaliska interaktioner online. Kvalitativa data samlades in genom att utföra halvstrukturerade intervjuer med musiker från olika bakgrunder. Studien avslöjade de många olika målen och behoven hos potentiella användare av Aloha. Dessutom fann vi flera avgörande faktorer som möjliggör och uppmuntrar musiker att skapa och underhålla nya musikrelationer online. Den slutliga föreslagna designen baseras på det analyserade datat och grundas i teori om design av rekommendationssystem, m. fl..
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Karlen, Rebecca. "Transitioning instrument and genres: Improvising my way through impostor syndrome." Thesis, Griffith University, 2022. http://hdl.handle.net/10072/415310.
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The concept of lifelong learning and the ways in which this learning takes place are of key importance for both students and professional musicians. Musicians in the 21st century need a broad and rapidly adaptable set of skills with which to build and sustain their careers, as substantial research shows that most musicians work within multiple roles that change according to their personal and professional needs. In order to forge new opportunities, musicians are often required to look beyond their initial training and experience to transition to new instruments and genres. There is limited research about the transition processes involved for mid-career musicians, especially in relation to how they train for cross-genre playing and the psychological challenges that they might face along the way, due to a lack of self-confidence or a poor sense of self-efficacy. This research project explored how continued learning and development took place for one professional musician, how alternate and additional musical skills were acquired, and what varied learning processes were involved. Using an autoethnographic approach, this research included a detailed examination and analysis of my personal transition from my formal training as a classical violinist to my current work as a professional vocalist and violinist across multiple other genres. The creative output during my Master’s candidature comprised two live performances, one video-recorded performance and a recorded album.1 Because this research commenced in 2016 and continued until mid-2021, this dissertation presents a substantial chronological exploration of my formal and informal learning processes, the inherent challenges I faced in crossing musical genres and in learning how to use a new instrument (my voice), and my musical development during this time. Data were collected through a range of techniques, including audio and video recordings and reflective journal entries. Conceptually, the study was based on the Learning by Design framework developed by Kalantzis et al. (2005) and explored different types of learning and a range of concepts related to belonging. The latter included self-efficacy (Bandura, 1977), Broadwell’s (1969) four stages of competence,Csikszentmihályi’s (1975) flow theory, imposter syndrome, (Clance & O’Toole, 1987), performance and contextual anxiety, and avoidance due to fear of failure (Papageorgi et al., 2007). I found that learning was a complex and multifaceted process, involving Kalantzis et al.’s (2005) four types of formal and informal learning processes working together: conceptualising, experiencing, analysing and applying. As I learnt more about my new instrument (voice) and new music genres, I started to feel a sense of belonging, with perceived higher self-efficacy, less self-doubt and diminishing feelings of being an imposter. My findings enabled me to construct a transition framework, based on my experiences. My research highlights the need for further investigation into identifying how transitions and lifelong learning could take place for other professional musicians, especially those who are mid-career. In today’s COVID-19 world, it has become even more important for musicians to consider transitions and lifelong learning.Thesis (Masters)
Master of Music Research (MMusRes)
Queensland Conservatorium
Arts, Education and Law
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Hayes, Eileen M. "Black women performers of women-identified music : "they cut off my voice, I grew two voices" /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/10623.
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Kiukas, Tobias. "Musicians dealing with the consequences of COVID-19 : A study on how musicians have adjusted to work in a socially distanced society." Thesis, Högskolan Dalarna, Ljud- och musikproduktion, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:du-36126.
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The COVID-19 pandemic shook the entire world at the start of 2020, causing aglobal social and economic disruption. This was especially true for those workingwith large groups of people in places like movie theaters, airplanes and live musicvenues. This qualitative study seeks to explain what kind of professional livesmusicians have had to develop during the coronavirus pandemic through emailinterviews. The research relates to the theory of habitus and field. It also relates totheory of strategies and tactics. The focus will be on how musicians from Sweden,Finland and the United States have adjusted to work. The musicians were devastatedand shocked but quick in using tactics to adapt to the situation. There were bigtransformations in plans already made. Some musicians returned to former jobs.Part-time teachers started teaching more through Zoom. A few held live-streamedconcerts. Some musicians had time for side projects while others sought completelynew jobs, which in one case, turned out in his favor. The musicians were almostuniversally hopeful for a brighter future.
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au, S. Beltman@curtin edu, and Susan Beltman. "Motivation of high-achieving athletes and musicians: A person-context perspective." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050728.140548.
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This research explores how motivation is shaped at the interface of person and context, with a focus on motivation in sport and music. From a social cognitive perspective, motivation research traditionally focuses on factors within the individual, whereas a more situated conceptualisation requires that motivation be studied within a person in context perspective. This study combines elements of both perspectives. It is proposed that motivation is shaped at the interface of person and context, where individuals make appraisals of social (other people) and structural (physical or organisational) aspects of their environments. A holistic view of motivation is adopted that incorporates initial engagement, ongoing involvement and persistence.
One challenge in current motivation research is to develop appropriate methods to capture such a dynamic, complex construct. In this study, semi-structured interviews and innovative tasks are used to gather biographical and longitudinal data about high-achieving athletes and musicians from diverse settings.
The findings reveal that complex personal and contextual factors operate reciprocally and dynamically as individuals make ongoing appraisals of their current situations. For example, personal factors such as aptitude, and contextual factors such as the existence of community programs, operate in a reciprocal way to shape participants initial engagement in sport or music. Complexity is highlighted when examining the role of a unique group of others in sport and music - onlookers (spectators or audience). A powerful effect on continuing involvement occurs when communities overlap and family members take on roles associated with onlookers. Participants face a range of potential problems in their lives and there are variations in the way these are perceived, in strategies and resources used, and in their impact on persistence. An important finding is the dynamic nature of motivation as the nature and extent of participants involvement in sport or music changes over time.
In addition to deepening our understanding of how motivation is shaped at the interface of person and context, the study offers a unique methodological contribution and the findings have implications for enhancing motivation in applied settings.
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Van, Heerden Estelle Marié. "Influences of music education on the forming process of musical identities in South Africa." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-08252008-144731/.
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Denson, Marjorie Louise. "Music from the Margins: An Autoethnographic Study of the Development of a Jazz Composer’s Voice." Thesis, Griffith University, 2014. http://hdl.handle.net/10072/366579.
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This is a multi-modal, authoethnographic study which examines the development of my voice as a composer. It consists of a folio of music scores, two CD recordings, and an exegesis. The principal question of how my musical identity has been shaped by my experiences as a jazz practitioner has been examined through composing music, personal writing and reflection, and an examination of relevant literature. The compositions reveal the main influences in my musical identity - jazz, western art music and Latin music, as well as their connection to the places which have inspired their creation. They range from an art song cycle to Afro-Cuban dance music, reflecting the hybrid nature of my practice. The exegesis makes use of contemporary feminist musicology and cultural studies to examine the nature of my experiences as an Anglo-Canadian/Australian woman pianist trying to find her place in strongly male-identified Latin and jazz music communities. It addresses the historical eclipsing of the role of women in jazz, and examines the negotiation of gender dynamics in the job market and on the band stand in the various communities where I have lived and worked. Both the music and the narrative seek to add a unique voice to the ever-evolving and diversifying story of jazz in the 21st-century.Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conseratorium
Arts, Education and Law
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Klypchak, Bradley C. "Performed Identities: Heavy Metal Musicians Between 1984 and 1991." Connect to this title online, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1167924395.
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Hatlevik, Espen. "Are Musicians Affected by Room Acoustics in Rehearsal Rooms?" Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for elektronikk og telekommunikasjon, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-18839.
Full textAbstract:
This study has investigated to what extent musicians adjust their source levels to different music rehearsal rooms. In the experiment, six amateur musicians were to perform the same song i four different rehearsal rooms, by first singing, then by playing guitar and last by combining singing with guitar playing. All sound sources were recorded and analyzed. The results shows that the average musician adjusts his source levels to the rehearsal room and that most of the adjustments are made in the guitar playing. Looking at the individual musician there are some that do not show any signs as to being affected by the rooms, and there are some that shows clear signs of being affected by the rehearsal room. The result also shows that the musicians are affected differently by different acoustic parameters, whereas the strength shows the least correlation and reverberation time shows the most correlation to the adjustment made by the average musician.