Relevant bibliographies by topics / University music study

Academic literature on the topic 'University music study'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "University music study"

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Li, Jia. "Towards the Feasibility of Instituting a Philippine Digital Audio Library: A Case Study." Journal of ICT In Education 8, no. 2 (July 4, 2021): 1–12. http://dx.doi.org/10.37134/jictie.vol8.2.1.2021.

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As a spearhead force in music research, especially in the area of South East Asia region, the University of the Philippines (UP) Center for Ethnomusicology (UPCE) caters to a gigantic collection of audio materials which covers different musics and musical traditions in the Philippines, South East Asia and representative areas from other continents. As an outcome of its former appellation, the “UP Ethnomusicology Archives”, UPCE hosts an ethnomusicological collection of about 2500 hours of recorded music in open reel and cassette tape formats, under the authorship of Jose Maceda whose visionary work of putting together these valuable recorded materials left a treasure for ethnomusicology scholarship and research. In recognition of his influential contribution that made the UCPE an archive and repository of materials on music, philosophy, anthropology and other cognate disciplines, these audio materials, together with field notes, music transcriptions, song texts, photographs, music instruments, music compositions, personal files, about 200 books and journals, all of which he personally initiated and developed as a unified institution resource for music research are called “Jose Maceda Collection”.
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Pastor, Elisa, and Bob Heath. "A Case Study on Songwriting in Music Therapy." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 37–48. http://dx.doi.org/10.24193/subbmusica.2022.1.03.

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"This case study presents the process of music therapy sessions in three instances of one-to-one client sessions and one online group session. Mr. Bob Heath, a music therapist with over 20 years’ experience, musician, songwriter, and singer, supervised these sessions, providing feedback and clinical support alongside Dr. Lois Paula Văduva, a recent music therapy graduates from The University of The West of England and reader at Emanuel University of Oradea, Romania. This research also illustrates the challenges of every session and the importance of practicing songwriting in a music therapy session. In addition, this case study highlights three techniques used during the study period: client-led lyric and songwriting, improvisation, and song narratives in a music therapy session. Lastly, the therapist’s reflections are presented to complete the overview of the work. Keywords: music therapy, songwriting, singing, music therapy session, client "
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Yang, Xuenan. "The Study of Music Teaching in Universities and the Inheritance of National Music Culture." Advances in Higher Education 3, no. 2 (October 10, 2019): 159. http://dx.doi.org/10.18686/ahe.v3i2.1437.

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<p>With the development of the society and the progress of the time, the pace of China's education reform is more and more steady. The development of the education system is gradually perfect. Music teaching is an indispensable part of the teaching system of colleges and universities, which has a positive impact on the improvement of students' music literacy. However, due to the interference of various factors, the national music culture has not been well inherited and developed, leading to the increasingly westernized development of music in China. This paper analyzes and discusses the relationship between university music teaching and national culture in detail, and puts forward a series of strategies and programs that are conducive to the inheritance of national music culture, which plays a role of reference and reference for university music teaching.</p>
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Spahn, Claudia, Sandra Strukely, and Andreas Lehmann. "Health Conditions, Attitudes Toward Study, and Attitudes Toward Health at the Beginning of University Study: Music Students in Comparison with Other Student Populations." Medical Problems of Performing Artists 19, no. 1 (March 1, 2004): 26–33. http://dx.doi.org/10.21091/mppa.2004.1005.

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This study investigated the prevalence of psychological and physical symptoms and subject–related health problems and attitudes toward health and study on the part of music, psychology, medical, and sports students at the beginning of their university studies. The study investigated 247 music students, 266 medical students, 71 psychology students, and 71 sports students in their first semester at the University of Freiburg in the winter semester 2002–03. Health conditions were ascertained by the Giessen Symptom Questionnaire (GBB) and the Hospital Anxiety Depression Scale (HADS); individual questions were posed with regard to the major subject (Epidemiological [EPI] Questionnaire). Health attitudes were ascertained by the Questionnaire on Health Locus of Control, and attitudes toward study were ascertained by the Questionnaire on Study-Related Patterns of Behavior and Experience (AVEM). Of the music students, 25% indicated current playing-related symptoms (EPI). On the GBB, the music students indicated significantly more physical symptoms (total score) than the medical and sports students. Psychology students did not differ significantly from music students regarding the severity of physical symptoms. Music students rated 8.4% in the HADS depression scale, and 33.5% on the anxiety scale, which was significantly more than the other students and placed them in the borderline or elevated range. According to the results of the AVEM, the music students’ identification with their major subject was stronger, with high significance, than that of the other student groups. The music students were more convinced than other students that they could exercise influence on their own health. The higher prevalence of health problems in music students compared with other students requires specific prevention and health promotion measures for music students. Prevention programs for music students should be tailored to the specific situation at the outset of their university studies.
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Verrico, Kristina, and Jill Reese. "University musicians’ experiences in an iPad ensemble: A phenomenological case study." Journal of Music, Technology and Education 9, no. 3 (December 1, 2016): 315–28. http://dx.doi.org/10.1386/jmte.9.3.315_1.

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This phenomenological case study describes the lived experiences of eleven university music majors participating in an iPad ensemble. The research was guided by the following question: What are their perceptions of their experiences using technology to create and perform music in an iPad ensemble? Participants were six music education majors and five music therapy majors. They met for seven weeks and concluded with a performance that included original compositions, improvisations and cover songs. Data included weekly written reflections and interviews with each participant. The essence of their experience was a sense of freedom from restrictions imposed by previous formal training and a feeling of empowerment developed through collective exploration and creativity in an autonomous environment free from judgement. Four themes support the essence: (1) informal and judgement-free context; (2) exploration, socially constructed knowledge and collaboration; (3) democracy, shared leadership and autonomy and (4) process and enjoyment.
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Mallah, Mohammed, and Needal Nusirat. "The Extent of the Students' Response to Music Notation Programs in Computer and Music Subject in Art Schools of the Jordanian Universities." Dirasat: Human and Social Sciences 49, no. 1 (August 2, 2022): 554–67. http://dx.doi.org/10.35516/hum.v49i1.1681.

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This study aims to reveal the extent of the music students response to the computer subject and music for musical notation programs in Arts colleges in the Jordanian University, and the study used the descriptive and analytical approach, by collecting data and information's for this topic and analyzing it. The study consisted of all students of musical arts (BA) Bachelors degree 58 males and females in the second semester of the year 2019/2020 ,and due to the great importance of linking music learning and education in modern technology. These programs are considered among the many supporting factors for education, which don't rely on traditional method of education. This study was conducted on students who are currently studying in different academic levels and from both sexes, males and females. And to achieve this goal, the study sought to answer its questions. The study reached the following conclusions: First: The extent of the applied response of music students at Yarmouk University and the University of Jordan to the computerized music notation program was high. Second: The extent of educational response of music students at Yarmouk University and the University of Jordan to the computerized Sibelius music notation program was high. Third: The extent of the cognitive response of music students at Yarmouk University and the University of Jordan to Computer and Music subject was high
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Naz, Summaira, Anila Kamal, Mussarat Jabeen Khan, and Humaira Bibi. "Music Preference Dimensions and Personality Traits Among University Students." Volume 36, Issue 3 36, no. 3 (September 30, 2021): 357–73. http://dx.doi.org/10.33824/pjpr.2021.36.3.20.

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The present study explored the relationship between music reference dimensions and personality trait. This study comprised of three stages. In Stage-I, adaptation of Short Test of Music Preference Scale (STOMP; Rentfrow & Gosling, 2003) was done. In Stage-II the psychometric properties of adapted STOMP Scale and NEO-PI-R (Costa & McCrea, 1992) were determined on a sample of 60 students (20-25 years). Stage-III involved measuring the relationship between music preference dimensions and personality traits on sample of 250 students age range of 20-25 years. Results revealed that extraversion, openness to experience, and agreeableness showed positive association with intense and rebellious music, upbeat and conventional music, and reflective and complex music. Whereas extraversion and openness to experience was negatively associated with energetic and rhythmic music. Additionally, neuroticism was negatively related with reflective and complex music, and agreeableness has negative relation with intense and rebellious music. Conscientiousness has negative relationship with reflective and complex, intense and rebellious, and upbeat and conventional; while exhibited positive relationship with energetic and rhythmic music. Future implications of the study were also discussed.
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Naz, Summaira, Anila Kamal, Mussarat Jabeen Khan, and Humaira Bibi. "Music Preference Dimensions and Personality Traits Among University Students." Volume 36, Issue 3 36, no. 3 (September 30, 2021): 357–73. http://dx.doi.org/10.33824/pjpr.2021.36.3.20.

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The present study explored the relationship between music reference dimensions and personality trait. This study comprised of three stages. In Stage-I, adaptation of Short Test of Music Preference Scale (STOMP; Rentfrow & Gosling, 2003) was done. In Stage-II the psychometric properties of adapted STOMP Scale and NEO-PI-R (Costa & McCrea, 1992) were determined on a sample of 60 students (20-25 years). Stage-III involved measuring the relationship between music preference dimensions and personality traits on sample of 250 students age range of 20-25 years. Results revealed that extraversion, openness to experience, and agreeableness showed positive association with intense and rebellious music, upbeat and conventional music, and reflective and complex music. Whereas extraversion and openness to experience was negatively associated with energetic and rhythmic music. Additionally, neuroticism was negatively related with reflective and complex music, and agreeableness has negative relation with intense and rebellious music. Conscientiousness has negative relationship with reflective and complex, intense and rebellious, and upbeat and conventional; while exhibited positive relationship with energetic and rhythmic music. Future implications of the study were also discussed.
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Silverman, Marissa. "I drum, I sing, I dance: An ethnographic study of a West African drum and dance ensemble." Research Studies in Music Education 40, no. 1 (October 28, 2017): 5–27. http://dx.doi.org/10.1177/1321103x17734972.

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The purpose of this ethnographic study was to investigate the Montclair State University’s West African drum and dance ensemble. Analyses of the data revealed three themes related to individual participants and the “lived reality” of the group as a whole, and to the social-cultural teaching–learning processes involved: spirituality, community-as-oneness, and communal joy. My motivation for undertaking this inquiry arose from the fact that, beginning in the 1960s, music education scholars in the United States have been concerned about the widespread marginalization of non-Western musics in American music teacher education programs. This situation is still a major concern because American undergraduate and graduate music teacher preparation remains overwhelmingly dominated by Western classical styles. This situation runs contrary to the massive social, cultural, situational, and musical diversity of American students’ lives. As one small effort to advance musical diversity in my own university music school context, I developed the proposal for and initiated the Montclair State University’s West African drum and dance ensemble.
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Lasauskienė, Jolanta. "Bachelor Project as a Final Assessment of Study Outcomes." Pedagogika 109, no. 1 (March 26, 2013): 86–92. http://dx.doi.org/10.15823/p.2013.1837.

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Study projects are an important part of university studies. They are involved not only for estimating separate study subjects but also for estimating an overall study quality, final study outcomes. The article examines final projects of music pedagogy which are prepared at Lithuanian University of Educational Sciences: peculiarities, educational importance and possibilities to strengthen practical training of future music teachers, by developing project and research activities competencies at university. The abilities of development are being presented in the context of study quality, final study outcomes. The aim of the research. To analyze music pedagogy projects defended in Lithuanian University of Educational Sciences and to determine the peculiarities of achieved project and research activity competencies (study outcomes). Methods of the research. Analysis of scientific sources, document analysis, expert method, content analysis. Results. Conclusions of the results reveal that competencies of project and research activities most often are only partially achieved by a music pedagogy students. The level of achievement of these competencies – study outcomes – is not the same: the easiest activities for bachelor’s students are to plan and organize independently the investigations of professional activities, to implement education projects; whereas, the most difficult ones are to formulate a research problem, to analyze and interpret research data, to prepare research report. The worst acquired abilities of project activities (study outcomes) are: to determine relevant problems of music education, to validate a project under the appropriate methods, to formulate a scientific report. Within research activities (study outcomes) group the graduates find most difficult tasks, such as: to choose a particular research strategy, to select or compose research instruments, to describe properly results of data analysis, research conclusions and recommendations. The research reveals essential factors, which caused the difficulties in preparing (writing) Bachelor’s projects (paper) on music pedagogy: the lack of various literacy and research skills. These competencies (study outcomes) ought to be improved both individually and during the modules of university studies, which particularly focusing on research skills and action research (projects).
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Dissertations / Theses on the topic "University music study"

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Carfoot, Gavin Steven. "Deleuze and music : a creative approach to the study of music /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18365.pdf.

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Lorenzino, Lisa M. "Educational reform and the process of change in Canadian university music education programs." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30185.

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This study examined the perceptions of music education students, professors, administrators and music teachers in the field with respect to the call for reform in Canadian music teacher training programs. The role that these various groups envision themselves having in this process was also investigated. Fifty-five subjects from the provinces of Quebec and Alberta responded to items on a written questionnaire. From within this subject pool, 19 subjects participated in a series of two interviews in order to gain further insight on various questionnaire items. Results demonstrated a moderate degree of similarity in responses from the stakeholder groups on numerous issues including the current status of music education programs, recommendations for future reform, and effective methods to enact such reforms. Results highlighted the need (a) to increase collaboration levels amongst all stakeholders involved in the process of music teacher training reform and (b) to better align the curriculum content of the university classroom with the needs of the teaching field. Implications for further practises are discussed.
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Spencer, Steven John. "Musicians at the margins : a case study of the role of instrumental music teachers in a university music department." Thesis, University of Wolverhampton, 2015. http://hdl.handle.net/2436/561191.

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This study presents the outcomes of an exploration of the ways in which instrumental music teachers (IMTs) engaged to teach in UK university departments experience their work and interpret their role. It provides the basis for realistic steps for enriching their contribution to and relationship with the department in which they are situated. The area of activity was examined through a qualitative research approach within a single case study design that highlights the particularities and complexities of the case and of its context. It progressed through semi-structured interviews, document review, job-shadowing and a research diary that engaged participants in an iterative process aimed at generating rich descriptions of the situation and increasing the veracity of its subsequent interpretation. The findings echo the isolated location found in earlier studies of IMTs in HE (Burwell, 2005; Haddon, 2009; Purser, 2005, Young et al, 2003) but note that they did not display the secretive or isolationist tendencies previously espoused. Instead there was a narrative of neglect and exclusion by the employer that contributed to a low sense of entitlement from these employees who occupy a peripheral and static position at the margins of departmental operations. It concludes that IMTs do not form a convenient organisational sub-unit (Weick and Orton, 1990) or a community of practice (Lave and Wenger, 1991) that would respond in a uniform fashion. Instead, they experience their engagement with the university in an individual manner framed by their personal and professional environment or umwelt (Uexküll, 1985) and interpreted according to their particular interests, needs and priorities. Finally it suggests that the employing department must recognise this diversity and facilitate greater participation of its IMTs through the creation of permeable boundaries that permit but do not require involvement in curriculum design and assessment, teaching innovations and research into instrumental pedagogy.
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Bennett, Erin Kathleen. "Czech nationalism in music a study of Smetana's Czech Dances, Book 2 for Piano /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1251230010.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Jonathan Kregor. Title from electronic thesis title page (viewed Nov. 10, 2009). Includes abstract. Keywords: Smetana; piano; Czech; nationalism. Includes bibliographical references.
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Ninmer, Andrew J. "Non-curricular elements to a successful university jazz performance program| A study of UNT, IU, and CSULB." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528009.

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This project report examines the importance of non-curricular elements in a successful collegiate jazz performance program. In order to understand what makes a program successful, this paper first reviews the history of three successful jazz programs—Indiana University (IU), University of North Texas (UNT), and California State University, Long Beach (CSULB)–and evaluates the components that led to their success. After a brief introduction of these three programs, the non-curricular elements that help to form each successful university jazz performance program are examined. Oftentimes, non-curricular elements are perceived as non-essential and therefore their benefits are not fully realized. Using IU, UNT, and CSULB as a benchmark, this project report examines their approaches to non-curricular ideas. This study will provide an understanding of how a prospective student might prepare for and benefit from these elements as part of a comprehensive collegiate jazz performance program.

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Britton, Amy Christine. "A Study of Felix Mendelssohn's Piano Fugues." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1220458221.

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Thesis (Master of Music)--University of Cincinnati, 2008.
Advisor: David Berry Ph.D. (Advisor), Catherine Losada Ph.D. (Committee Member), Melinda Boyd Ph.D. (Committee Member). Title from electronic thesis title page (viewed Jan. 18, 2009). Includes abstract. Keywords: Mendelssohn; fugue. Includes bibliographical references.
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Burke, Donita Baham. "A Music Curriculum for the Non-Music Major Teacher of the Intermediate Grades." UNF Digital Commons, 1985. http://digitalcommons.unf.edu/etd/71.

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This study was developed for the teacher who may have limited resources in music education. The purpose of this study was to design a curriculum in music education for the intermediate grades so that a non-music major teacher could easily instruct music lessons. The characteristics of musical growth have been outlined and research has been shown to support the musical characteristics. A set of objectives has been formed as the foundation for teaching music to children of the intermediate grades. The curriculum devised has three components for the teacher to follow: songs appropriate for each season, holiday or month, listening to American composers, and creating musical instruments. The activities listed have been selected for student appeal and enrichment suggestions are given to allow the teacher the opportunity to expand the, music lesson. It is with great hope that this study will give the teacher confidence to undertake a program of music that may have been otherwise nonexistent in the classroom.
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Daniels, Delia Josianne. "Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49730.

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Thesis (MMus) -- Stellenbosch University, 2002.
ENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171.
AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.
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Wright, Colin Richard. "Investigating aural : a case study of its relationship to degree success and its understanding by university music students." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:13100.

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The central aim of this research is twofold: first, to examine the relationship between university music students’ aural ability as measured in examination marks and overall success on a music degree programme; and second, to investigate current university music students’ views on aural and its importance in a music degree programme. Previous research indicates that aural skills are vital in developing musical expertise (see Karpinski, 2000a), yet the precise nature of those skills and the emphasis placed upon them in educational contexts merits attention. An extensive review of literature provides an introduction to terminology as well as a framework with which to understand research perspectives on aural, specifically to address aural in practice and aural as process. Two empirical studies are carried out as part of a case study investigation in this thesis: Study 1 compares aural test scores with overall marks obtained in a music degree so as to investigate their potential correlation; Study 2 analyses the views of current undergraduate and postgraduate music students from the same institution via focus groups about aural alongside their response to the data obtained in Study 1. Findings indicate that there are positive correlations between students’ aural test marks and overall degree results, although these are not always significant. The views of current students about aural reflected shifts in understanding from undergraduate to postgraduate level, with the former offering specific ideas about what it entails and highly subjective attitudes towards it, and the latter providing abstract and broad appreciation of aural in music practice. The students provided tentative remarks about the findings of Study 1. Related issues that emerge within the research, including the students’ views on training, singing, and the role of module choice in gaining a music degree, are debated as part of the thesis.
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Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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Thesis (Ph.D.)--University of Western Sydney, 2007.
A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
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Books on the topic "University music study"

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Twyman, Michael. Early lithographed music: A study based on the H. Baron Collection. London: Farrand, 1996.

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Forbes, Elliot. A history of music at Harvard to 1972. Cambridge, Mass: Dept. of Music, Harvard University, 1988.

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Donaldson, William. Manuscript material in the University of Aberdeen for the study of piping. Aberdeen: Northern Scotland, 2000.

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Rice, Sederick C. Must be the music. Kearney, NE: Morris Publishing, 1999.

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Webb, Trevor. A level music: A workbook of questions for the anthology of music London University [second set]. London: Novello, 1989.

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Webb, Trevor. A level music: A work book of questions for the Anthology of Music, London University [second set]. London: Novello, 1989.

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New, L. J. Music and the academic outlook: An inaugural address delivered on 15 October 1985 at the University of Zululand. KwaDlangezwa, South Africa: University of Zululand, 1985.

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Australian Association for Research in Music Education. Annual Conference. Proceedings of the XXVIth annual conference, 25-28 September 2004, Southern Cross University, Tweed-Gold Coast Campus, Tweed Heads. Edited by Chaseling Marilyn and Australian Association for Research in Music Education. Melbourne, Vic: AARME, 2004.

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Moore, Marvelene C. Kaleidoscope of cultures: A celebration of multicultural research and practice : proceedings of the MENC / University of Tennessee national symposium on multicultural music. Lanham: Rowman & Littlefield Education, 2010.

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Ellis, Catherine J. The musician, the university and the community: Conflict or concord? Armidale, N.S.W: University of New England, Publication Office, 1986.

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Book chapters on the topic "University music study"

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Blanco-García, Yurima, and Alicia Peñalba. "The Music Training of General Primary Education Teachers: A Case Study at a Spanish University." In Current Research in Systematic Musicology, 275–91. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-78451-5_14.

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Krüger, Heinz-Hermann. "Young Adults’ Exclusive Educational Careers in the Transition to Higher Education or Employment: Key Findings of a Qualitative Longitudinal Study." In Life Course Research and Social Policies, 71–85. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-13512-5_5.

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AbstractThis paper examines the effects of changing modes of transition in a highly segmented education system that also provides designated spaces for the education of internationally mobile educational elites and future functional elites in the social fields of sport, dance, music, and art. It focuses on a—at least in the German context—little-researched example of the institutional modes of doing transitions available to students on such exclusive educational pathways in their transition from school to university or school to work. The results underscore that the provision of an excellent school infrastructure alone does not guarantee a promising career transition. How these career pathways are shaped depends crucially on the interplay between institutional demands, regulations, and spaces of opportunity and young adults’ biographical orientations and how they are embedded in different, milieu-specific spaces of experience.
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Moebius, Stephan. "Ups and Downs of Sociology in Germany: 1968–1990." In Sociology in Germany, 85–122. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-71866-4_4.

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AbstractIn the 1960s, Germany was strongly marked by changes in cultural values and social concepts of order, by new developments in art, music, and film, as well as suburbanization; also, as in many other countries, in 1968 there were massive student protests in Germany. The student movement brought sociology into the limelight. The Frankfurt School and the more Marxist Marburg School in particular became closely connected with the student movement. As a subject of study, sociology gained enormously in importance, which was connected with the growing need for social reflection in all areas of life. A characteristic feature of sociology in this period was an increasing differentiation into specialized subfields. The number of academic positions for sociologists and the number of students increased, partly as a result of the founding of new universities and of reforms in higher education policy. The increasing number of non-university research institutions complemented sociological research at the universities. This expansion, which coincided with a highly visible public sociology, also led to counter-movements: Conservative sociologists criticized the growing social influence of sociology and propagated an “anti-sociology.” As far as empirical social research is concerned, quantitative research had become more professional; interpretative social research had slowly developed, reinforced by the increasing reception of symbolic interactionism. The “planning euphoria” of the 1960s and 1970s weakened, and many looked at 1968 with disappointment and some even turned away from sociology. There were debates, such as that between representatives of Critical Theory and systems theory (the “Habermas-Luhmann debate”) and the debate on “theory comparison,” and controversies regarding “postmodernism.” The 1980s was the great time for sociological theory in Germany. Also, a further increase in the differentiation and pluralization of the sociological field could be observed.
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Lohse, Rolf. "Tri-National Graduate School "Europe’s Founding Myths in Literature, Art and Music" (University of Bonn, Université Sorbonne (Paris IV), Università di Firenze)." In The Study of Europe, 125–32. Nomos Verlagsgesellschaft mbH & Co KG, 2010. http://dx.doi.org/10.5771/9783845225487-125.

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Klingenstein, Beth Gigante, and Sara Hagen. "A Case Study in Online Delivery." In Research Perspectives and Best Practices in Educational Technology Integration, 197–216. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2988-2.ch011.

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This case study explores the journey that allowed the music faculty at a small public university in North Dakota to create a groundbreaking undergraduate online music major. The narrative travels from resistance to acceptance and from tradition to innovation. The events are described from the perspective of two faculty members who approached the adaptation of technology into the music program from polar opposites, one highly in tune with the world of technology and the other highly resistant. This chapter presents the history of the online music degree, including its seminal beginnings, the technology innovations that drove the process, the evolution of essential team buy-in, the skills acquired by faculty, and the processes developed for delivery. Online teaching has energized the music department at Valley City State University and the story is one worth sharing.
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Challis, Di. "The Music Room." In Authentic Learning Environments in Higher Education, 34–47. IGI Global, 2006. http://dx.doi.org/10.4018/978-1-59140-594-8.ch003.

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To explore the synergies of an integration of the conceptual and practice worlds, this chapter draws on part of an Australian Committee for University Teaching and Staff Development funded project for students of architecture and construction. Composing Architecture — The Music Room, involved 74 second-year students at an Australian university. The case study is used as an illustration of curriculum design, including assessment aimed at creating learning experiences that were purposeful, rich in their complexity, and mirrored the demands of a profession fostering development in a supportive environment. To support this aim the elements of the music room project were tested against proposed criteria for authentic learning. While recognising the differing views of scholars and challenging some claimed attributes, the case study indicates that, irrespective of discipline, there are some fundamental shared understandings of what an authentic learning environment entails.
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Williams, James. "Collaborative composition and performance in arts and health workshops." In Together in Music, 261–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0033.

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The “Collective Music-Making as Social Interaction” (CMSI) study was conducted at Vic University, Catalonia. The project was a music-based arts and health workshop, featuring as part of the University’s Art as a Tool for Social Transformation program, aimed to explore how music and the design of bespoke notation can be used in groups to support social interaction among participants. Findings identified within the experiences of participants included discovery, expression, perception, recognition, imagination, communication, cohesiveness, confidence, and self-esteem. The project reveals how a creative, collaborative process can demonstrate a group’s capacity to learn new ways of socially interacting and communicating. The study also shows how the collective product (both composition and ensemble performance) is representative of such social interaction. It is suggested that designing musical notation in collective workshops can facilitate healthy engagement between individuals, proposing extensions of the model for use with arts on prescription and social prescribing service users.
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Øien, Ola Buan. "Loop Station Conducting (LSC): A Study on Live Looping as an Ensemble Conducting Approach." In Music Technology in Education, 131–50. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.108.ch5.

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This practice-oriented self-study is motivated by an apparent gap in the literature on music technology research in both performative and pedagogical practices. Thus, the aim is to investigate live looping as a style of ensemble conducting guided by the following research question: “What perspectives relevant to conducting can live looping offer as an ensemble conducting approach?” Using three contexts of hermeneutic meaning interpretation to analyze empirical material collected during interviews with a nine member focus group of music teacher students at a Norwegian university, I find that live looping through loop station conducting as an ensemble conducting approach offers several perspectives relevant to conducting, in that it can achieve the following: Create anticipation, evoke a sense of mastery and a sense of feeling secure, serve as an efficient supplement to conducting, create an immediate and holistic impression of the end result, and serve as a creative and/or pedagogical approach.
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Nguyen, Thomas. "Gamification and Formal Practice: A Pilot Study on Gamification’s Contributions to Kindergarten Students’ Musical Practice." In Music Technology in Education, 103–29. Cappelen Damm Akademisk/NOASP, 2020. http://dx.doi.org/10.23865/noasp.108.ch4.

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Practice is, and will always be, one of the fundamental ways of attaining musical skills. However, the efficiency of skill acquisition will be dependent on the quality and quantity of musical practice. On the one hand, a learner can be dedicated in their practice, seeking guidance to improve their own weaknesses and strategize their practice time, reminding us of formal practice. On the other hand, a learner can lack dedication or even be amotivated by practicing without effort or goals, reminding us of informal practice. This pilot study explores how gamification can potentially contribute to formal practice and song acquisition, incorporating game elements like reward systems, level gaining, competition, cooperation, storytelling, and goals into a ukulele and song course. This intervention design tested kindergarten teaching students (n = 60) at Queen Maud University College (DMMH) of Early Childhood Education.
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Glowinski, Donald, Cecile Levacher, Florian Buchheit, Chiara Malagoli, Benjamin Matuszewski, Simon Schaerlaeken, Chiara Noera, et al. "Emotional, cognitive, and motor development in youth orchestras." In Together in Music, 250–54. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0031.

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Does being part of an orchestra from an early age have an impact on cognitive and emotional capacities? Researchers from the University of Geneva (Unige), Switzerland, the University of Genoa (Unige-IT), and the Institute of Research and Coordination Acoustic/Music (IRCAM) in Paris investigated this question in the context of the Demos orchestras organized by the Philharmonie de Paris-Cité. This two-year study evaluated the development and evolution of the cognitive, emotional, and motor skills of 255 children engaged in two Demos orchestras, aged 7 to 13 years living in education priority zones (ZEPs) in France. The results showed that after two years of playing music as part of a group, the working memory, cognitive flexibility, and emotion understanding skills of the children improved at a higher rate than the published measurements on standard tests. Important improvements were also shown in movement synchronization.
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Conference papers on the topic "University music study"

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Zhong, Chuanzhi. "Study on the General Music Education of Normal University." In 2015 International Conference on Management, Education, Information and Control. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/meici-15.2015.230.

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Zitkeviciene, Daiva, and Ona Monkeviciene. "Music Teachers’ Communication Ways Helping Preschool Children to Engage with Learning Objects and to Explore their Critical Aspects." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.75.

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This article aims to reveal the variation-theory-grounded ways that music teachers use to communicate with pre-school children and direct their attention to learning objects (sounds of music) and the critical aspects of learning objects (music sound qualities) while listening to music. Variation theory is a novel didactic approach in the musical education of pre-school children. A learning study based on the theory of variation as a phenomenographic approach and a strategy for a lesson study as a form of participatory action research were employed. While conducting the empirical research, attempts were made to identify the ways in which music teachers communicate with children, which are grounded in variation theory and direct children’s attention to learning objects and their critical aspects. The research distinguishes two groups of ways of music teacher communication that encourage children to listen to music: music teacher communication that directs children’s attention to feeling, understanding and discerning the learning object, i. e., sounds of music (group one) and the critical aspects of learning objects, e. g., pitch, duration of music (group two). These ways that apply variation theory are new and enrich the didactics of early music education.
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Daliņa, Dace, and Vēsma Ozoliņa. "Problems of Group Management in Preschool Music Lessons and Possible Solutions." In 78th International Scientific Conference of University of Latvia. University of Latvia, 2020. http://dx.doi.org/10.22364/htqe.2020.15.

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The research was implemented within the framework of the University of Latvia master’s study program “Pedagogy” course “Effective classroom management”. During the action research, the researchers identified group management problems in music lessons at educational institution X, in group Y. Key problem identified was the insufficient attention of children at the beginning of the lesson. The research proceeded to also look for possible solutions. The aim is to analyse current methods of delivering effective music classes in a pre-school setting, and propose and validate new strategies to improve the beginning of a music lesson. The study involved 17 preschool children (11 boys and 6 girls), a music teacher, and two group teachers, and an observer. The study was conducted from October 2019 to March 2020. The first results of the action research show that as the teacher changed her classroom activities, introduced certain group management techniques, such as signalling and acoustic counting, and repeating these as a routine activity in each lesson, children’s attention improved significantly at the beginning of the music lesson and became more sustained.
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Stramkale, Ligita. "The Impact of Covid-19 Pandemic on Music Education: A Review of the Literature." In 80th International Scientific Conference of the University of Latvia. University of Latvia Press, 2022. http://dx.doi.org/10.22364/htqe.2022.61.

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The study topicality is related to the impact of the Covid-19 pandemic on music education in various educational institutions worldwide. This literature review aimed to summarize and identify current issues related to music education during the Covid-19 pandemic. The study used publications available in the Sage Journal database and published in the last three years (2020-2022). The study addressed three research questions. RQ1: What teaching modes adopted during the Covid-19 pandemic in music education are mentioned in studies, and for what purposes are music teachers using digital tools? RQ2: What are the challenges and benefits of teaching and learning music during the Covid-19 pandemic? RQ3: What are the common reasons for music teacher burnout, and how to ensure the teacher’s and student’s well-being during the music teaching and learning process in the Covid-19 pandemic? The literature review allowed us to identify three thematic groups that affected music education during the Covid-19 pandemic: (1) The teaching mode and the digital tools that support music education; (2) The challenges and benefits in teaching and learning music; (3) The stress and well-being of music teachers and students. The study revealed that music teachers mostly use digital tools to promote students’ creativity, support learning, and assess outcomes. During the Covid-19 pandemic, teaching and learning music were associated with several challenges: learning organization, providing the material and technical base, learning to play musical instruments, communication and support for students. That resulted in increasing the workload and a lack of control over equipment and performance, which affected the well-being of music teachers. Despite the challenges, music teachers seek and create several solutions to improve the overall effectiveness of music education in the changing epidemiological environment. The findings describe the impact of the Covid-19 pandemic on music education and help music teachers to understand the problems that occurred during the pandemic.
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Stramkale, Ligita, and Laila Timermane. "Primary School Students’ Self-Regulated Learning Skills in Music Lessons." In 78th International Scientific Conference of University of Latvia. University of Latvia, 2020. http://dx.doi.org/10.22364/htqe.2020.12.

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The topicality of the study was determined by the increasing role of self-regulated learning (hereinafter SRL) in primary education. The aim of the study is to compare the teacher’s assessment with the students’ self-assessment, to identify whether there are differences in awareness of the required level of SRL skills in music learning. Previous researches on SRL have been analysed, and an empirical study involving 86 (N=86) 4th- grade students of primary school has been conducted to achieve the aim of the study. To determine the level of primary school students’ SRL skills in music learning, the SRL skills of each student during music lessons were observed by the music teacher and were recorded in the observation protocol according to four criteria: motivation, setting learning outcomes, monitoring of learning and outcomes assessment. The questionnaire provided an opportunity to reveal the self-assessment of each student’s SRL skills and compare them with the results obtained by pedagogical observation. The study found that there is no difference between the teacher’s assessment and students’ self-assessment. Both teacher and students believe that the students’ skill of setting learning outcomes in a music lesson is at a low level, while the skills of monitoring their learning and assessing the outcomes are at a medium level. The study concluded that primary school students understand their SRL skills level, which is a prerequisite of monitoring learning and outcomes assessment strategies for joint learning.
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Stramkale, Ligita. "The Content of Today’s Music Subject Curriculum for Grades 1–3 in the Context of Montessori Education Principles." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.81.

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The use of an improved curriculum and a new approach in the teaching-learning process of the comprehensive schools in Latvia determine the topicality of the study. The aim of the study is to identify the Montessori education principles and the keywords that describe them, as well as to compare them with the content of learning topics in today’s music subject curriculum for grades 1–3. The following research questions were raised to achieve this aim. RQ1: What are the Montessori education principles and the keywords that describe them? RQ2: What keywords describe the principles of Montessori education are mentioned in the content of learning topics in the music subject curriculum for grades 1–3? twenty-two academic articles that are published in the EBSCO database between 2010 and 2021 were used to define the principles of Montessori education. As a result of content analysis of the academic publications, the study identified three principles of Montessori education: Student’s discoveries and finding creative solutions, collaboration and learning by doing. The study determined the frequency of using the keywords describing the Montessori education principles in number (N) and percentage (f%) by using document analysis, content analysis, and visual representation of the relationships between the identified keywords in the word cloud. The study found that the content of learning topics in the curriculum of music subject dominated by keywords that describe the Montessori education principles, such as creativity and learning by talking. The study results provide an opportunity to understand the features that are in common between Montessori and traditional education in the content of the music subject curriculum.
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Haupert, Mary Ellen. "CREATIVITY, MEANING, AND PURPOSE: MIXING CULTURES IN CREATIVE COLLABORATION." In INNODOCT 2019. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/inn2019.2019.10109.

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Music composition is embedded into the Viterbo University music theory curriculum to promote active engagement of musical materials. The project accomplishes three basic complementary outcomes: 1) Students will be able to creatively apply and develop the foundations of music theory learned in their first year of university-level music study, 2) Students will develop proficiency using music writing software, and 3) Students will overcome their fear of composition and gain confidence as musicians. Students are taught foundational concepts during the first four semesters of music theory; these concepts are creatively applied and developed in the gestation and birth of a musical composition that is original and personal. Meaning and purpose, combined with guidance and encouragement, sustain these freshmen and sophomore students over a five-month process of framing a concept, composing music, editing their scores, and finally rehearsing and performing their works. The “concept” for the 2018-2019 freshmen and sophomore music theory students was a collaborative venture with Gateway Christian School, which is part of Project Gateway in Pietermaritzburg, South Africa. Poetry written specifically for this project by Grade 7 students was collected and given to Viterbo University students for setting; the learning outcomes, as well as the benefits and global focus of the project will be the focus of this paper.
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Muceniece, Laura, Dace Medne, and Ērika Gintere. "Pedagogical Potential of Mental Practice in Teaching Brass Instruments at University." In 79th International Scientific Conference of University of Latvia. University of Latvia, 2021. http://dx.doi.org/10.22364/htqe.2021.77.

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At any level of musical education, it is very important to improve one’s musicianship skills, which can only be achieved through consistent training and playing their musical instrument. Physical training is a very important part of the learning process; however, its combination with mental practice has been proved to be much more effective. Although such an approach is important at all levels of musical education, the paper addresses it in the context of higher education. Thus, the aim of this study is to determine the pedagogical potential of mental practice in the process of teaching music in higher education. The research was implemented in two stages. First, a survey was conducted to gather information about the respondents’ habits when learning musical pieces. At this stage, the study involved 68 brass students from different universities around the world between the ages of 19 and 25. The second stage of the research comprised the development of the program of mental practice (PMP) with structured observation as a method and 7 participants from Latvian and Norwegian higher music education institutions. The obtained results allow to conclude that the inclusion of mental practice in the practicing routine significantly improves the overall level of concentration and stability both in the process of training and during performances. Mental practice also provides an opportunity to increase the duration of training as well as enhances the overall effectiveness of practicing and concentration during performances.
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Evrim Tunca, Ozan. "Using Distant Learning Platform for Musical Instrument Instructor Training." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.797.

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The purpose of this study is to examine the productivity of distant instructor training program for musical instrument education. Music education, especially on playing musical instruments, has been one of the major topics of general education. Today, formal musical instrument education is available in conservatories and music departments of fine arts and education colleges, and informal or non-formal musical instrument education is available in private music schools and courses in Turkey. Recorder or melodica is taught in public schools as part of the general music education. There are number of different platforms to teach musical instruments where there is need to train teachers to do that in the needed quality. There are various applications of online teacher training for instrument education. For example, Northwestern University and University of North Carolina have been offering courses over Coursera (a major MOOCs provider), such as Teaching Violin and Viola, Fundamentals of Rehearsing Music Ensembles. Different from our program they do not provide direct contact with the instructor for feedback. A group of well-experienced instructor trainers of the Anadolu University including myself established a distant instructor-training program for musical instruments. This paper will explain and explore the stages of the program’s creation and its effectiveness.
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Tomono, Dai, Mitsuhiro Fukuda, Kichiji Hatanaka, Wataru Higemoto, Yoshitaka Kawashima, Kenji M. Kojima, Yoshitaka Kuno, et al. "Muon Beamline Commissioning and Feasibility Study for μSR at a New DC Muon Beamline, MuSIC-RCNP, Osaka University." In Proceedings of the 14th International Conference on Muon Spin Rotation, Relaxation and Resonance (μSR2017). Journal of the Physical Society of Japan, 2018. http://dx.doi.org/10.7566/jpscp.21.011057.

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Reports on the topic "University music study"

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Kiv, Arnold E., Vladyslav V. Bilous, Dmytro M. Bodnenko, Dmytro V. Horbatovskyi, Oksana S. Lytvyn, and Volodymyr V. Proshkin. The development and use of mobile app AR Physics in physics teaching at the university. [б. в.], July 2021. http://dx.doi.org/10.31812/123456789/4629.

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This paper outlines the importance of using Augmented Reality (AR) in physics education at the university as a valuable tool for visualization and increasing the attention and motivation of students to study, solving educational problems related to future professional activities, improving the interaction of teachers and students. Provided an analysis of the types of AR technology and software for developing AR apps. The sequences of actions for developing the mobile application AR Physics in the study of topics: “Direct electronic current”, “Fundamentals of the theory of electronic circuits”. The software tools for mobile application development (Android Studio, SDK, NDK, Google Sceneform, 3Ds MAX, Core Animation, Asset Media Recorder, Ashampoo Music Studio, Google Translate Plugin) are described. The bank of 3D models of elements of electrical circuits (sources of current, consumers, measuring devices, conductors) is created. Because of the students’ and teachers’ surveys, the advantages and disadvantages of using AR in the teaching process are discussed. Mann-Whitney U-test proved the effectiveness of the use of AR for laboratory works in physics by students majoring in “Mathematics”, “Computer Science”, and “Cybersecurity”.
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