Tesis sobre el tema "Music competitions"
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1
Michalak, Filip. "Piano Competitions : Preparation and Purpose". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2854.
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Hurst, Craig Willmore. "A Nationwide Investigation of High School Band Directors' Reasons for Participating in Music Competitions". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc277760/.
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The purpose of this study was to assess on a national level, high school band directors' reasons for their bands' participation in six different types of competitive music activities, identify important reasons for participation in competitive music activities, and examine if statistically significant differences existed between the magnitudes of importance reasons for participation when subjects' responses were grouped by type of competitive activity, frequency of participation in a competitive activity, and by groupings of U. S. states similar in terms of general participation in competitive music activities, emphasis upon ratings or rankings as an indication of a high school band directors' success, and emphasis upon participation in competitive music activities.
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McKerrell, Simon Alasdair. "Scottish competition bagpipe performance : sound, mode and aesthetics". Thesis, University of St Andrews, 2005. http://hdl.handle.net/10023/4809.
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This study is an ethnomusicological analysis of Scottish competition bagpiping, examining three fundamental aspects of performance: sound aesthetics, performance aesthetics and the modal complex of the core repertoire. Through a mixture of discussions, modal analysis and reflections upon performance, it deconstructs the music of the 2/4 competition pipe march and the aesthetics surrounding competition performance. Focussing on a small number of the world's leading Highland bagpipers, this research demonstrates how overall sound combined with the individual choices about repertoire and how to play it, results in the maintenance of individual identity. In chapter three, analysis of the ‘modal complex', comprising pitch sets, hierarchies, phrasing-structure, the double-tonic, structural tones, melodic motifs and rhythm-contour motifs reveal the characteristics of various modes in the 2/4 competition pipe march. As an insider of this music-culture, I offer a definition of mode based upon motivic content rather than pitch set. The modal complex is framed by an understanding of how pipers themselves think about their competitive tradition. Understanding the concepts presented in this thesis provides an original and holistic picture of how Scottish bagpipe competition performance sounds the way it does.
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Theron, Susara Margaretha. "Die perserverance kersfeesorkes as verteenwoordigende voorbeeld van gemeenskasmusiek in die Wes-Kaap". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5134.
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Thesis (MMus (Music))--University of Stellenbosch, 2010.AFRIKAANSE OPSOMMING: Die Kersfeesorkeste is ‟n Christelike tradisie binne die Kleurling-gemeenskap van die Wes-Kaap wat dissipline en goeie waardes by lede van hierdie gemeenskap inboesem en musiek in voorheen benadeelde en minderbevoorregte sektore van die samelewing bevorder. Die geskiedenis en agtergrond van die Kersfeesorkeste is soortgelyk aan dié van die Kaapse Klopse en die Maleierkore, wat veral prominent na vore kom tydens die Kersfees- en Nuwejaarsfeestelikhede in die Kaap. Alhoewel hierdie drie groepe ‟n nou verbintenis tot mekaar het en dikwels deur die publiek saamgroepeer word, funksioneer hulle onafhanklik van mekaar en is daar beduidende verskille in kultuur, repertoire, kleredrag, organisatoriese struktuur en samestelling. Hierdie studie fokus op die Perseverance Kersfeesorkes en ondersoek dié orkes in sy vele fasette binne die raamwerk van wat in die musiekwetenskap deesdae “gemeenskapsmusiek” genoem word. Die kenmerke van die begrip “gemeenskapsmusiek”, soos dit in die laaste 15 jaar in ander lande geformuleer is, word aan die hand van die Perseverance Kersfeesorkes getoets om uit te vind of die Perseverance Kersfeesorkes as ‟n voorbeeld van gemeenskapsmusiek beskou kan word en, omgekeerd, of die begrip “gemeenskapsmusiek” aan die hand van hierdie geval in alle opsigte gepas is of dalk aangepas moet word.
ENGLISH ABSTRACT: Christmas Bands are a Christian tradition within the Coloured community of the Western Cape that instils discipline and values amongst members of this community and promotes music within previously disadvantaged and under-privileged sectors of society. The history and background of the Christmas Bands is similar to that of the Cape Minstrels and Malay Choirs, who are very prominent during the Christmas and New Year festivities in the Cape. Although these three groups have a close connection they function independently of each other. There are significant differences amongst these groups in respect of culture, repertoire, uniform, organisational structure and composition. This study focuses on the Perseverance Christmas Band and examines this band in all its different facets within the framework of what, in current musicological terminology, is called “community music”. The characteristics of the concept of community music, as they have been formulated in other countries over the last 15 years, are tested against the Perseverance Christmas Band to determine whether the Perseverance Christmas Band should be understood as a example of community music and, vice versa, whether the concept of community music itself is valid when measured against the Perseverance Christmas Band or whether it needs adjustment or expansion.
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Goodman, Kimberlee Ruthe. "The commissioned works of the National Flute Association for the Young Artist and High School Soloist Competitions". Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196186122.
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Laufer, Gil y Alexander Åblad. "Spirit in the Screen : The effect of CuePilot on the viewer's experience in live broadcasted music competitions". Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-279486.
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The use of media technology to pre-program the camera work of performances (with tools such as CuePilot) became a state-of-theart solution in live broadcasted music competitions and events, allowing to create technologically advanced and more appealing live performances. In this paper we study how the use of such solutions affect the viewer’s experience, assuming that preprogrammed camera work results in a more unified experience compared to manual camera work. The paper also investigates whether pre-programmed camera work is noticeable by the viewers. To study these effects an experiment was conducted. The material used was a set of four entries from the Latvian music competition Supernova available in two versions: one produced manually without CuePilot and one pre-programmed with CuePilot. Each participant watched two of the entries without CuePilot and two with, and provided quantitative input according to GEMS (Geneva Emotional Music Scale), an instrument developed in order to measure musically evoked emotions, as well as qualitative input, as each participant had to determine which two of the performances watched were directed with CuePilot and asked to explain their choices. An analysis of the data using statistical tools and significance tests showed that pre-programmed camera work can result in a more unified experience compared to manual camera work, up to some degree. The ability to decrease the variance depends on the creativity value of the Creative Space of the specific production. Pre-programmed camera work is not directly noticeable but can be identified more easily with the presence of video effects, quick cuts or explicit interaction of the artist with the camera.Användningen av medieteknik för att förprogrammerad kameraarbetet för framträdanden (med verktyg såsom CuePilot) har blivit en lösning i teknologisk framkant inom direktsända musiktävlingar och event vilket möjliggjort tekniskt avancerade och mer attraktiva liveframföranden. I denna uppsats undersöks hur användningen av sådana lösningar påverkar tittarens upplevelse under antagande att förprogrammerat kameraarbete resulterar i en mer enad upplevelse i jämförelse med manuellt kameraarbete. Vidare undersöker uppsatsen om förprogrammerat kameraarbete är märkbart hos tittaren. För att undersöka denna inverkan utfördes ett experiment. Materialet som användes var fyra bidrag från den lettiska musiktävlingen Supernova tillgängliga i två versioner: en producerad manuellt utan CuePilot och en förprogrammerad med CuePilot. Varje deltagare tittade på två av bidragen utan CuePilot och två med och bidrog med kvantitativ input enligt GEMS (Geneva Emotional Music Scale), ett verktyg framtaget för att mäta musikaliskt framkallade känslor, tillsammans med kvalitativ input då deltagarna också blev ombedda att gissa vilka av de sedda bidragen som producerats med CuePilot tillsammans med en motivering av valet. Med statistiska verktyg och signifikanstest visade en analys av datan att förprogrammerat kameraarbete till viss del kan resultera i en mindre varians av upplevelser. Möjligheten att minska variansen beror på kreativitetsvärdet av den kreativa rymden (Creative Space) för en specifik produktion. Förprogrammerat kameraarbete är inte direkt noterbart men kan lättare bli identifierat om videoeffekter, snabba klippningar och tydlig interaktion mellan artist och kamera är närvarande.
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Allgeier, Anthony Joseph III. "The Works for Clarinet Commissioned by the Concours International d'Exécution Musicale de Genève: A Critical Survey and Performance Guide". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc31524/.
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Beginning in 1939, the Concours International d'Exécution Musicale de Genève (CIEM; Geneva International Music Competition) is unique among international music competitions in its multidisciplinary approach. To date, fifteen works have been commissioned for clarinet for the years in which the clarinet was involved. The most well-known of these works is the unaccompanied work by Heinrich Sutermeister, Capriccio for Solo Clarinet in A, written in 1946 for the 1947 competition. This work is a staple in the unaccompanied clarinet repertoire. However, the other fourteen works commissioned for the competition are little known and to date no document has been prepared that examines each of these works in the context of the competition and clarinet literature. While perhaps less notable, works were also commissioned for a sight reading portion of the competition for many of the years in which the clarinet was a discipline chosen for the competition, two of which were published. These works are examined as well. This survey provides a critical, analytical, historical, performance-related and biographical review of the published and unpublished works commissioned for the clarinet by CIEM. The composers, competitors and the significance of these works and winners in the clarinet literature and history are included. A chapter is dedicated to each piece which includes performance considerations, critical, analytical, and historical information as well as biographical information regarding the composer and the competitors where available.
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Rottcher, Janette. "Die bydrae van Unisa se Oorsese Musiekstudiebeurs vir Voordraers tot die ontwikkeling van musiek in Suid-Afrika". Diss., University of Pretoria, 2011. http://hdl.handle.net/2263/30716.
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In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry.Dissertation (MMus)--University of Pretoria, 2011.
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Du, Toit-Pearce Minette. "Eisteddfod in Suid-Afrika met spesifieke verwysing na die Paarl Vallei Eisteddfod". Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2945.
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Thesis (MMus (Music))--University of Stellenbosch, 2009.The purpose of this thesis is twofold. In the first instance, it is to document the origins and history of the eisteddfod in general, and more specifically, in South Africa. In the second instance, this thesis will attempt to describe the meaning and role of the eisteddfod in South Africa. This will be achieved with the help of a case study, which will require that a local eisteddfod be researched and discussed. As a result of involvement with eisteddfods over a period of twenty-five years (first as a participant and later as a teacher and a member of the judging panel), the writer has, over time, become increasingly fascinated with the phenomenon of the eisteddfod. Some of the questions that have arisen include: Why do eisteddfods still take palce in South Africa? What role do they play in the present-day cultural education of learners? Do they still bear relevance in current musical (specifically vocal) practice? This thesis is aimed at determining why such high value is attached to eisteddfods in certain communities. Why did this centuries-old tradition, brought from the northern hemisphere to South Africa, survive for so long? And why is it so important for some teachers, parents and children that they must participate? There is a large volume of literature concerning the international history of the eisteddfod. As this general history is already comprehensively described, it will only be presented in this thesis as a broad historical framework for the more specific history of the eisteddfod in South Africa. The local history of the eisteddfod is, however, poorly covered by published information. The literature in existence is often incomplete, and in most cases covers only up to the 1960‟s. News and magazine archives can only really help to identify the location and date of various eisteddfods, and to highlight some interesting aspects thereof. The latest academic literature was published as far back as 1994. The hypothesis of the current study relates to the suspicion that significant change has taken place in the last thirteen years (since 1994) regarding the meaning and vi function of the eisteddfod in South Africa. As the literature relating to this period is so sparse, this hypothesis will be empirically tested in a case study. To place the eisteddfod in South Africa in a historical context it is important to first investigate its origins. Its origin in Wales and subsequent development will be examined. This background study will assist in determining how eisteddfods in South Africa compare with those in other countries. To describe the development of the eisteddfod in South Africa is more complicated, due to the lack of an accurately described history. The defined scope of this thesis does not, however, include the production of an accurate history. Rather, a partial history is compiled using contemporary sources such as newspapers and magazines, as well as secondary sources. The most important and possibly the most challenging aspect of this thesis concerns an in-depth investigation of the Paarl-Valley Eisteddfod. The purpose of this investigation was an empirical study to collect information regarding a specific eisteddfod as well as the community that participate and support it. This information was used to form interpretations as to whether an institution like the eisteddfod is still relevant, and if it still adds value to the development of children, learners and musicians. It also helped to direct speculation about the meaning and function of the eisteddfod to participants, parents and teachers.
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Remy, Jeannine Irene. "A historical background of Trinidad and Panorama competitions with an analysis of Ray Holman's 1989 Panorama arrangement of "Life's Too Short"". Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185401.
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This document is directed toward those who have little knowledge about Trinidad, its people, the Carnival activities, and the Panorama competition. This research work should help summarize the evolution of steel drums while providing a transcription of a Panorama score for further scholarly study. The first part of this lecture document includes a brief history and evolution of Trinidad, its people, and musical developments through Carnival. The second portion reports and discusses field research with the Trintoc Invaders in preparation for the 1989 and 1990 Panorama competitions. The third part is a detailed analysis of Ray Holman's Panorama arrangement of "Life's Too Short" for the Trintoc Invaders using theme and variation as the formal structure. Information for this lecture recital document was gathered from written sources in Trinidadian libraries and field work in the Trintoc Invader's pan yard. The source materials: newspaper articles, magazine articles, and books were gathered from the University of the West Indies in St. Augustine and from the West Indian Collection of the Central Library in Belmont. In addition to these materials, interviews were conducted with some older panmen who participated in the very first steel bands. Documents, such as lists of steel bands in Trinidad and Tobago, Panorama results, and judging procedures were obtained from the Pan Trinbago headquarters in Port-of-Spain. Musical information was gathered by rehearsing and playing tenor pan with the Invaders Steel Band Orchestra located in Woodbrook and working closely with their arranger and composer, Ray Holman. Permission was granted to notate his arrangement for analysis and all rights are reserved.
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Lees, Jennifer Anne, University of Western Sydney, of Arts Education and Social Sciences College y School of Humanities. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941". THESIS_CAESS_HUM_Lees_J.xml, 2003. http://handle.uws.edu.au:8081/1959.7/714.
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This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original materialDoctor of Philosophy (PhD)
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Hirvonen, A. (Airi). "Pikkupianisteista musiikin ammattilaisiksi:solistisen koulutuksen musiikinopiskelijat identiteettinsä rakentajina". Doctoral thesis, Oulun yliopisto, 2003. http://urn.fi/urn:isbn:9514269365.
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Abstract The aim of the present study was to work out how students of soloist music education construct their identities in their life stories and what they narrate about the meaning of significant persons, instrumental teachers and instrumental studies for the advancement of their studies. In addition, it was worked out what the soloist students narrate about their performances in music competitions and how recognition achieved in music competitions appears in their stories. Research problems were solved by using narrative-biographical approach and the data were collected by interviewing five students in the soloist department at the Sibelius Academy. Three of them were interviewed five times and two of them four times. The data were collected during the years 1999-2002. The analysis of the data has been done both horizontally (thematic analysis) and vertically (narrative analysis). In the present study the construction of identity is regarded both as a social identity project and as a personal identity project. Social interaction with significant persons and recognition achieved through successful studies and music competitions are regarded as essential factors in the construction of identity. So, the experiences achieved during the long process of instrumental studies are an important element in the construction of identity. The Finnish instrumental education system establishes the essential context in which the life stories of the students take place and the identities of the students are constructed. The students who participated in the present study have begun instrument playing early before starting school, but for a long time it has been one hobby among others. In many descriptions one particular instrumental teacher is regarded as a key person for the orientation of the studies. With the support of a teacher of this kind instrumental studies have become professional. At the beginning of soloist studies the main motivation for music studies is pleasure of playing, not any special professional mission. When the studies continue, the identity of a student begins to be constructed to be e.g. that of a chamber musician or a musician. In the present culture music competitions have become one of the most important ways of getting social respect and recognition for one?s talent in music society. The students who participated in this study have begun their competing at high school age. The present study reveals competitions to be very essential but also conflicting events in the lives of the students. Some students even regard competitions as the most important events from the point of view of orientating to professional studies. On the other hand, competitions and preparing for them during the studies may have been felt to be phases of extreme stress and to cause feelings of insufficiencyTiivistelmä Tutkimuksen tarkoituksena oli selvittää, miten solistisen koulutuksen musiikinopiskelijat rakentavat identiteettiään omaa elämäänsä kuvaavissa kertomuksissa ja mitä he kertovat merkittävien ihmisten, soitonopettajien ja soitonopiskelun merkityksestä opintojensa etenemiselle. Lisäksi tutkimuksessa selvitettiin, mitä musiikinopiskelijat kertovat osallistumisestaan musiikkikilpailuihin ja miten heidän kertomuksissaan tulee esiin kilpailuissa saatu tunnustus. Tutkimusongelmia selvitettiin narratiivis-elämäkerrallista tutkimusotetta käyttäen, ja aineistona oli viiden Sibelius-Akatemian solistisen koulutuksen opiskelijan haastattelut. Tutkimuksen kuluessa kolmea opiskelijaa haastateltiin viisi kertaa ja kahta opiskelijaa neljä kertaa. Tutkimusaineisto kerättiin vuosien 1999-2002 aikana. Aineiston analyysi tehtiin sekä horisontaalisesti (temaattisesti) että vertikaalisesti (narratiivinen analyysi). Tutkimuksessa identiteetin rakentumista tarkasteltiin sekä sosiaalisena että persoonallisena identiteettiprojektina. Identiteetin rakentumisessa pidetään osaltaan olennaisina sosiaalista vuorovaikutusta merkittävien ihmisten kanssa sekä opintosuoritusten ja kilpailujen kautta saatavaa tunnustusta. Opiskelijoiden identiteetin rakentumisessa merkityksellisiä ovatkin pitkän soitonopiskeluprosessin mukanaan tuomat kokemukset. Suomalainen soitonopetusjärjestelmä muodostaa sen keskeisen kontekstin, johon musiikinopiskelijoiden elämää kuvaavat kertomukset sijoittuvat ja jossa musiikinopiskelijoiden identiteetti rakentuu. Opiskelijat ovat aloittaneet soittamisen jo runsaasti ennen kouluikää, mutta soittaminen on ollut pitkään yksi harrastus muiden joukossa. Useissa kuvauksissa jotakuta tiettyä soitonopettajaa pidetään avainhenkilönä opintojen suuntautumisen kannalta. Tällaisen soitonopettajan johdolla, peruskoulun loppupuolella, opiskelijan opinnot ovat saaneet tavoitteellisen, ammattimaisuuteen suuntaavan käänteen. Solistisen koulutuksen opintojen alkaessa opiskelijoiden tärkeimpänä motivaationa opinnoissa on halu soittaa, ei niinkään minkään erityisen musiikin alan työtehtävän tavoittelu. Opintojen edetessä opiskelijoiden musiikki-identiteetti alkaa rakentua esimerkiksi kamarimuusikko-identiteetiksi tai muusikko-identiteetiksi. Musiikkikilpailuista on tullut nykykulttuurissa yksi merkittävimmistä sosiaalisen arvonannon saamisen välineistä musiikin alalla. Kilpailut ovat yhä huomattavampi tapa saada tunnustusta omille kyvyilleen ja parantaa asemaansa musiikkiyhteisössä. Musiikkikilpailuihin osallistuminen on tutkimuksen opiskelijoilla alkanut lukioikäisenä. Tutkimuksessa tulee esille, että kilpailujen merkitys on musiikinopiskelijoiden elämässä hyvin tärkeä mutta kilpailut aiheuttavat myös ristiriitaisia tunteita. Jotkut opiskelijat pitävät kilpailutilanteita jopa merkittävimpinä tapahtumina ammattiopintoihin suuntautumisen kannalta. Toisaalta kilpailut ja niihin valmistautuminen on voitu kokea äärimmäisen stressaavina, riittämättömyyden tunteita aiheuttavina vaiheina opintojen aikana
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Wulfsberg, Joanna Christine. "Singing turkish, performing Turkishness| Message and audience in the song competition of the international Turkish olympiad". Thesis, The University of Arizona, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1589575.
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Turkey's most controversial religious figure is the Muslim cleric and author Fethullah Gülen, whose followers have established around one thousand schools in 135 countries. Since 2003, the Gülen-affiliated educational non-profit TÜRKÇEDER has organized the International Turkish Olympiad, a competition for children enrolled in the Gülen schools. The showpiece of this event is its song contest, in which students perform well-known Turkish songs before live audiences of thousands in cities all over Turkey and reach millions more via television broadcasts and the Internet. While the contest resembles American Idol in its focus on individual singers and Eurovision in its nationalistic overtones, the fact that the singers are performing songs associated with a nationality not their own raises intriguing questions about the intended message of the competition as well as about its publics. To answer these questions, I analyzed YouTube videos of the competition and examined YouTube comments, popular websites, and newspaper opinion columns. I conclude that the performers themselves are meant to feel an affinity with Turkish culture and values, while Turkish audiences receive a demonstration that Gülen's brand of Islam is compatible with Turkish nationalism. Moreover, the competition reaches a multiplicity of publics both within and beyond Turkey. While some of these can be characterized as essentially oppositional counterpublics, I find that, in the case of the Turkish Olympiad, the dichotomy between rational public and emotional or irrational counterpublic established collectively by such theorists of publics as Jürgen Habermas and Michael Warner begins to break down.
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Lees, Jennifer Anne. "Eisteddfoditis : the significance of the City of Sydney Eisteddfod in Australian cultural history 1933-1941". Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/714.
Texto completoResumen
This thesis documents the early history of the City of Sydney Eisteddfod from its beginning in 1933 until it recessed in 1941 for the duration of the Pacific War. Eisteddfods had long been commonplace in Australia, but this competition began for political rather than cultural reasons in 1932, when organisers of the Harbour Bridge celebrations decided that since the spectacular edifice had made Sydney an icon on the world map, the city needed to cultivate a more sophisticated image. In observing events that led to its establishment, the project looks at the technological revolution of the 1920s and the social upheaval of the jazz age. This thesis observes that Sydney competition was Welsh only in name and grew from the political roots of the high and lowbrow debates that had come to divide society. In examining these issues, this thesis focuses on the Sydney contest, the talent that rose from its stages and the cultural revival that exploded in its wake. Written as a narrative history, this thesis draws mostly from empirical sources. It includes a statistical analysis and a substantial amount of original material
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Lekakul, Great. "Prachan : music, competition, and conceptual fighting in Thai culture". Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/26516/.
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Hebert, David Gabriel. "Music competition, cooperation and community : an ethnography of a Japanese school band /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11402.
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Okorie, Chijioke Ifeoma. "Open and freemium music business models in Africa - copyright and competition consequences". Doctoral thesis, University of Cape Town, 2018. http://hdl.handle.net/11427/28396.
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This thesis considers how South Africa and Nigeria can apply copyright and competition laws to regulate the open and freemium music business model that involves the use of copyright-protected music content to generate revenue from advertising. To enhance their competitiveness and escape copyright infringement liability, the firms that deploy the business model impose contractual terms to explain their use of protected content and direct the actions of platform users. Using case law from the Court of Justice of the European Union (CJEU), the thesis argues that although these terms result in free and wider distribution of copyright content, some aspects of their implementation may be unaligned with the regulatory framework. The thesis finds that these misalignments exist because the non-payment of royalties to copyright owners and their exclusion from revenue-sharing arrangements may adversely affect their viability of copyright owners as small and medium-size enterprises (SMEs) while their inclusion necessitates the imposition of restrictions that may prevent innovative uses of copyright products. Further, the thesis finds that the misalignments are caused by legal uncertainties regarding the exclusive rights of the copyright holders and the scope of their limitations and exceptions, as well as unavailability of competition law enforcement criteria that protect the economic freedom of SMEs including copyright owners. Because of the copyright covering the music content and its use in the economic activity of advertising, which is regulated by competition law, the thesis argues for aligning the business model with the regulatory frameworks. Further, the thesis argues that by ratifying international copyright treaties in ways that provide exclusive rights limited by compulsory licensing, and by amending and enforcing competition law to recognise unconscionable conduct as xiv anticompetitive, copyright and competition laws may be used to regulate the open and freemium music business model. By adopting a South African and Nigerian perspective and proposing competition law solutions, this study aims at filling a gap in the academic literature, which does not appear so far to have attempted a pro-Africa assessment of the business model and/or considered the complementary role of competition law in copyright-related industries in specific jurisdictions.
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Frabboni, Maria Mercedes. "Collective management of music rights : a test of competition and industrial organisation theories". Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/456.
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The management of music rights is currently carried out in a collective manner, by national organisations known as collecting societies. These organisations issue licences to commercial users, monitor their uses, collect royalties and distribute remuneration to rights holders. Collecting societies emerged as a response to the difficulty for authors to authorise personally every use of their work. They subsequently evolved into large and highly structured institutions that aggregate the interests of a wide and scattered array of rights holders. Collecting societies perform their activities within their national boundaries, as enforcers of territorial entitlements granted under copyright or droit d’auteur legislation. Cooperation between them has led to the establishment of a valuable network of reciprocal representation agreements for the exploitation of foreign repertoires. It is submitted, however, that the territorial connotation of collecting societies’ activities does not match the borderless character of music uses taking place via the internet. Technological and business solutions are open to cross-border uses but even such solutions still rely, to a large extent, on territorial licensing practices. It has been argued that this is an obstacle to the full development of online music services in the European Union. The problem for music rights management lies in the response to calls for new licensing models to arise, and in the challenge that such a response could bring to the existence of collecting societies. The query that this thesis tackles is whether the problem can be resolved via copyright instruments, or whether strategies based on competition are required to drive the market towards the desired outcome. It is observed that, in order to adapt to the changed environment, collecting societies have updated their reciprocal representation agreements to fit internet uses. The results of this process of adaptation have mostly been unsuccessful, due to their incompatibility with competition rules. Other models have been proposed, which envisage the elimination of reciprocal representation agreements and the implementation of mono-repertoire multi-territorial licences. These models also raise anti-competitive concerns. This study shows that the preferred solution to the defined problem is to be found in the assessment of rights management institutions from the point of view of the law and economics analysis, and more specifically through the lens of Industrial Organisation theories. The assessment conducted according to this approach highlights the strategic interactions in which rights managers engage, and demonstrates that multi-territorial licensing solutions now adopted for the internet function as by two-sided platforms competing in a market that remains highly concentrated.
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Musgrave, George. "Creativity, capital and entrepreneurship : the contemporary experience of competition in UK urban music". Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53431/.
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This thesis explores how a competitive marketplace is experienced by creative labour in the context of UK urban music by employing an experimental ethnographic research approach. Between 2010-2013, observations, interviews and textual analysis were conducted with two case-study ‘MCs’, alongside reflexive autoethnographic analysis of the author’s own career as an unsigned artist. The findings contribute to the study of competitiveness by highlighting how it is understood from the perspective of producers, as well as to a wider body of qualitative academic literature exploring the ways in which creative labour operates in advanced markets. It is proposed that in an increasingly competitive context, cultural intermediaries assume a crucial role in the lives of artists for their ability to act as both a distributor and a distinguisher, thereby addressing the work of cultural sociologists and creative labour scholars that debates the role of intermediaries in cultural markets. The methods of artistic collaboration which creative labour employ to capture the attention of these intermediaries, demonstrates that competitiveness can engender collaboration. However, this co-operation often takes place for self-interested reasons, challenging the oppositional dynamic between self-interest and cooperation. Furthermore, the ways in which creative labour acquires, maximises and converts forms of Bourdieu-defined capital today is illusory, as artists can acquire large amounts of institutionalised cultural capital and thus appear very successful, while struggling to monetise this success. The thesis thus highlights how technological changes in the marketplace have altered processes of capital transubstantiation. Finally, this research proposes that the behavioural responses to competitiveness by contemporary creative labour can be understood as an entrepreneurial orientation towards creativity. It contributes to debates about the impact of entrepreneurship on artists, by suggesting that whilst it can have damaging emotional implications evidenced in frustration and disillusionment, it largely helps creativity for the way in which it motivates artists.
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Kanellopoulou, Evgenia. "Test for echo : competition law and the music industries from a business model perspective". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31351.
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The thesis asks whether there is a role for competition law and policy in the music industries. It is argued that there is a need for updated competition policy in order to safeguard both end consumer welfare and the competitive process in these markets, characterised by fast-paced developments and business model innovation. Indeed, the past two decades saw the music industries undergo seismic changes, as even the term 'music industries' was not in use as such before the advent of the internet era and the decline in sales of recordings in physical format. Soon it became obvious that the traditional music industry's end consumers had chosen to migrate to alternative methods of consumption, complementing and substituting between several products for music, such as the digital format, the live concert ticket, and the overall 'music experience'. End consumers chose to completely by-pass the product on offer, meaning the recording of popular music in physical format, as provided top-down by a few multinational record companies, which the thesis identifies as an oligonomy. As alternative business models emerged in the music industries, the members of the oligonomy became followers of end consumer demand, remaining stuck in their notion that the end consumer remains the passive, mass market. Addressing this era as an era of market failure helps to identify the role of the end consumer within the business model of the music industry and to understand emerging trends and patterns in the music industries. Indeed, technological and copyright developments in the late nineteenth century enabled the hardware industries to morph into the recorded music industry, operating under the same business model of copyright exploitation. It follows that the market deriving from this business model is a market prone to monopolisation, resulting in a homogeneous product, designed and delivered top-down to the mass market. The resulting product was not only foreclosed by the few members of the oligonomy, but the operating business model made it impossible for the competition authorities to justify concerns. When the technology allowed for it, the creeping market failure came to the limelight and the end consumer started by-passing the oligonomy to gain access to the foreclosed content, generating consumer demand-driven business models. This translated into business model innovation. To illustrate, the thesis investigates the trial-and-error relationship between the competition authorities of the US, the EU, the UK and the old business model, addressing the failure to appreciate the bottleneck around the creative output that was being created, and the need to safeguard consumer welfare. To compare, the thesis also examines cases in the new business model era, observing the stance of competition authorities towards consumer demand generated business models. The thesis concludes with the affirmation of the need to design welfare enhancing competition policy, which places the end consumer in the forefront. To achieve this, the thesis proposes the consultation of the relevant business model literature.
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Kaye, D. Bondy Valdovinos. "Same song, new dance: analyzing market structure and competition in the digital music aggregation industry". Thesis, Kansas State University, 2016. http://hdl.handle.net/2097/32644.
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Master of ScienceDepartment of Journalism and Mass Communications
Angela Powers
Technological revolutions of the past century have fueled dynamic paradigm shifts across a broad spectrum of mass media industries. This study examines an innovative new market segment in the music recording industry: digital music aggregation. Digital music aggregators are music distributors that directly connect artists, any creator of musical content, to digital music vendors, online music stores such as iTunes or digital music streaming services such as Spotify. Digital music aggregator companies offer services similar to major record labels, such as mass distribution, royalty collection, and intellectual property protection. Digital music aggregators provide services to artists at all levels of prestige and experience. Essentially any artist interested in publishing music can do so using digital music aggregators. Despite their growing influence in the music recording industry, digital music aggregators have been afforded little scholarly attention. This study responds to Galuszka's (2015) call for further research on aggregator market structure and competition, proposing the following research questions: 1) how is the digital music aggregator market structured? 2) What competitive strategies do digital music aggregators employ? This study is framed by the industrial organizational model of market structure (Bain, 1968) and Porter’s (1980) theories of competitive strategy. Six in-depth qualitative interviews were conducted for this study. Results illuminate market structure and competitive strategies in the digital music aggregation industry and lay foundation for future study and industrial application within this nascent branch of the music recording industry.
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Griffin, Amanda Jane. "The amateur competition movement : shaping identity through participation in the Manx Music Festival, 1892-2005". Thesis, Durham University, 2006. http://etheses.dur.ac.uk/2941/.
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The aim of this dissertation is to consider the thesis that the amateur competitive music festival is a contributor to the formation and maintenance of ideas and ideals of identity. The research begins by considering the advent, growth and spread of the amateur competition festival and how these festivals shaped the musical identity of the British Isles and the personal identity of those participating In the festivals. The dissertation then focuses upon the Isle of Man as the locus of the research considering how identity formation is a complex process shaped both by history "and the personal need to shape and form identity on a number of levels and suggest examples of how cultural identity can be expressed in differing ways. By considering identity formation found in and through the Manx Music Festival both historically and in the contemporary festival society, the research draws upon both primary and secondary source materials including historical documentation, on-site participant/observation, interviews, questionnaires and case studies. The results found have been formulated to present an ethnographic account of Identity formation and maintenance found in, around and through participation in the Manx Music Festival. Finally the research considers the experience of the researcher as an important part of the research process. The dissertation concludes by discussing the outcomes of the research and suggests how the research can be expanded and progressed in the future.
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Tucker, Olivia Gail. ""Everybody is Good Enough": Band Teacher Agency in a Highly Competitive Environment". Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707234/.
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Relations between music education structures and teacher agency are under-researched and under-theorized, and scholars have indicated that the traditions and competitions of school bands in the U. S. may constrain educator agency. The need for research on teacher agency in competitive environments is compounded by policy trends toward administrators' use of festival scores in music educator evaluations. The purpose of this instrumental case study was to investigate band teacher agency in a highly competitive music education environment. I used the chordal triad of agency as the primary theoretical framework. Participants were four mid-career band educators in Texas, and I collected data through interviews, observations, journal entries, website review, and email correspondence. Throughout the data, participants' agency largely reproduced existing structures. Findings coalesced around (a) participants' core values of music, students' development, hard work, and competition, (b) an inductive, cohesive collection of band teaching norms despite participants' employment in schools of varying urbanicity and student demographics, (c) power sources that transmitted values and directed teachers' agency, and (d) a compelling story of one participant's generative agency that contrasted with the rest of the data. I provide directions for further research on music teacher agency and suggest implications for band educators, professional music education organizations, and music teacher educators.
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Scannell, Daniel A. "Sound Judgment: Auditory – but not Visual – Information Reveals Musical Competition Winners". Thesis, Boston College, 2014. http://hdl.handle.net/2345/3867.
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Thesis advisor: Ellen WinnerPrevious research reported that people can successfully determine the winner of a musical competition when viewing a six second film clip of the performer without sound (Tsay, 2013, 2014); in contrast, when given an audio-only film clip or a clip that combined auditory and visual information, people perform at chance. Given the well-known publication bias in psychology (Ioannidis, 2005), this surprising and counterintuitive finding begs replication. In Study 1, 112 participants were randomly assigned to a sound, video, or video-plus-sound condition and were asked to select the winning musician after viewing five pairs of clips, one showing the winner and the other showing a non-winning musician. Clips were presented for 60 instead of six seconds, with the goal of giving participants more information about the performance, a modification we predicted would enhance performance in the audio and audio-visual conditions. Contrary to Tsay (2013), participants performed at chance in all three conditions. To more directly replicate Tsay (2013), in Study 2, 69 additional participants were randomly assigned to either a sound, video, or sound plus video condition and were asked to select the winning musician after viewing five pairs of 6-second clips showing the winner and another, non-winning musician. Here again the results did not replicate Tsay (2013): Participants performed significantly above chance in only one condition – when only hearing the performance and not seeing it. These results suggest that previous findings showing increased performance in rating musical performances without sound may be spurious and due to sampling error, issues in experimental design, low power, publication bias, or some combination of these. This also shows the strong importance of replication studies
Thesis (BA) — Boston College, 2014
Submitted to: Boston College. College of Arts and Sciences
Discipline: College Honors Program
Discipline: Psychology Honors Program
Discipline: Psychology
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Swehla, Kelli L. "An examination of a competition set for your active high school jazz band: “Hay Burner” by Sammy Nestico, “A Child is Born” by Thad Jones, “The Next Chapter” by Patty Darling, “Uchibeng Wow-Wow” by Michael Philip Mossman". Kansas State University, 2015. http://hdl.handle.net/2097/20360.
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Master of MusicSchool of Music, Theatre, and Dance
Frank Tracz
The following report is an in depth research and analysis project based on the graduation requirement for a Masters in Music degree from Kansas State University. The product of this project was a performance at the Iowa Jazz Championships by the Xavier High School Jazz Band One (Cedar Rapids, IA), Kelli L. Swehla, director. This performance was held on March 31, 2015, at the Community Choice Credit Union Convention Center (part of the Iowa Events Center), in Des Moines, IA. The repertoire included Hay Burner by Sammy Nestico, A Child Is Born by Thad Jones, The Next Chapter by Patty Darling and Uchibeng Wow-Wow by Michael Philip Mossman. The theoretical, historical and technical analyses of this process were collected using the Unit of the Teacher Resource Guide, developed by Richard Miles and the Macro, Micro, Macro score analysis form developed by Dr. Frank Tracz. This report also includes documentation of the planning and evaluation of each rehearsal.
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Ripley, Angela N. "Surviving Set Theory: A Pedagogical Game and Cooperative Learning Approach to Undergraduate Post-Tonal Music Theory". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1437583773.
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Duerksen, Jessica Anne. "“It’s festival time again”: Sounding Tensions with/in an A/R/Tographical Inquiry into Participation in Competition Music Festivals". Thesis, Université d'Ottawa / University of Ottawa, 2015. http://hdl.handle.net/10393/32989.
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Reflecting on my musical past, my annual participation in competition music festivals in solo and ensemble categories at the local and provincial levels shaped my music education as well as my development as a music educator. I inquire into how re/visiting moments of tension in my lived experiences as a participant in competition music festivals can facilitate my current praxis as artist, researcher and teacher. My inquiry is informed by understandings of a/r/tography as an arts-based educational research methodology. I inquire into these sites of music-making drawing on a theoretical framework of a soundscape, a concept originally proposed by Canadian composer R. Murray Schafer, to generate rhizomatic pathways with/in my research. Through this framework I consider how musical form informs the processes and structures of my thesis. Emphasizing a/r/tography as process-oriented inquiry, understandings emerge through music-making, arts-based journaling and autoethnographic renderings. Rhizomatic soundscapes evoke new understandings and questions contributing to literature on student perspectives participating in competition music festivals and teaching and learning in one-to-one music instruction.
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Groulx, Timothy J. "An Examination of the Influence of Band Director Teaching Style and Personality on Ratings at Concert and Marching Band Events". Scholar Commons, 2010. https://scholarcommons.usf.edu/etd/1650.
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This descriptive correlational study examined the relationship between high school band directors' teaching style and personality and their ratings in marching and concert band festivals using the Five-Factor Model of personality and Gumm's Music Teaching Style Inventory. The sample (N=176) consisted of 46% of all high school band directors in Florida. Criterion variables included marching and concert festival ratings, state concert band ratings, Florida Marching Band Coalition marching competition scores, frequency of attendance of these last two events, and the balance between marching and concert band. Predictor variables included thirty personality facets and eight teaching styles. Four demographic variables included gender, experience, academic degree, and primary instrument.
One predictor, Time Efficiency, stood out as having particularly strong correlations with all of criterion variables. Regression models produced the following findings: 23% of the variation in concert band ratings can be explained from Time Efficiency, Immoderation, Music Concept Learning Assertiveness, and Nonverbal Motivation; 22% of the variation in marching band scores can be explained by Time Efficiency, Music Concept Learning, Imagination, Modesty, Cheerfulness, and Anxiety; 20% of the variation in participation in state Florida Bandmasters Association concert band festival participation can be explained by Time Efficiency, Positive Learning Environment, Immoderation, Music Concept Learning, Group Dynamic, and Assertive Teaching, and 11% of the variation in FMBC competitive marching band event attendance can be explained by Time Efficiency, Nonverbal Motivation, Dutifulness, and Modesty. Most subjects (84.3%) were balanced, while the remaining 15.7% were marching oriented. There was no significant difference in marching ratings between groups, although balanced subjects scored significantly higher in concert band and attended significantly fewer marching competitions. A discriminant function selected four predictor variables with a significant effect: Assertiveness, Immoderation, Adventurousness, and Emotion (Wilks' λ = .84, χ2 = 23.42, df = 4, p less than .001) which was able to successfully predict group membership 72.3% of the time.
Recommendations include emphasizing the concert band as the core and playing concert music all year. Directors may benefit from being cognizant of their personalities and teaching styles which may enable them to modify their behavior and practices when appropriate to be more effective teachers.
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Hoffman, Kenneth Lloyd Jr. "Ohio Band Directors' Perceptions of Large Group Adjudicated Events". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397662993.
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Souchaud, Alexandrine. "Les pianistes amateurs en concours : mises à l’épreuve pour une reconnaissance ?" Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040090/document.
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Dans une volonté de comprendre le sens des pratiques instrumentales au fil du quotidien d’adultes musiciens amateurs, cette thèse propose d’analyser l’expérience de pianistes, qui, parallèlement à leurs vies professionnelles et privées, ont décidé un jour de se lancer un défi : passer un concours de musique. De leurs aspirations à prendre part à ce type de manifestation à leur présentation/prestation devant les jurys en passant par la phase de préparation au concours, nous inviterons le lecteur à suivre le cheminement et l’engagement de ces musiciens amateurs tout au long de cette aventure musicale singulière. Nous verrons en quoi la participation au concours prend la forme d’une épreuve multiple : sociale, personnelle et musicale et envisagerons cette épreuve comme un moyen d’accéder à une reconnaissance, qu’il s’agisse d’une reconnaissance des autres ou d’une reconnaissance de soiThis thesis intends to analyse the experience of piano players who, in parallel with their work and private lives have decided to get involved in a very particular challenge: take part in a music competition. We will try to understand why adults, amateur musicians, practise a musical instrument on an every day life basis and what it represents for them. The reader will be then invited to follow the evolution and commitment of these amateur musicians all the way through this unique musical adventure. That is, starting from their desires to get into this kind of event up to their presentation and performance in front of examiners. We will see how taking such a competitive examination can be a multiple ordeal on social, individual and musical levels. We will also view this ordeal as a means to achieve a recognition by other people and at the same time a personal recognition
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Brennan, John Michael. "Show Design and Wind Arranging for Marching Ensembles". The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1397561909.
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Lundequist, Per. "Spatial clustering and industrial competitiveness : Studies in economic geography". Doctoral thesis, Uppsala : Department of Social and Economic Geography, Uppsala University, 2002. http://publications.uu.se/theses/99-2002-0429140456/.
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Čep, Jaroslav. "Podnikatelský záměr". Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2010. http://www.nusl.cz/ntk/nusl-222538.
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The aim of the thesis is to create business plan which is focused on “revitalization” of disco club in Libina village, work up analysis of present condition, make a proposal changes that provides improvement of competition standing of company. In the end find out whether this business plan including proposal of changes will be profitable or not to aplicate.
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Caillat, Maud. "Confrontation culturelle Est-Ouest pendant la Guerre froide par le biais du concours Marguerite Long (1947 à 1979)". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040121.
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Quel rôle le Concours international Marguerite Long joue-t-il dans le contexte de la Guerre Froide, en tant que vecteur culturel où s’affrontent deux écoles opposées d’un point de vue esthétique, à savoir les Écoles de piano française et soviétique ? L’objectif de cette thèse est de comprendre les mécanismes du concours Marguerite Long et leur impact sur le jeu pianistique qui, depuis les années cinquante jusqu’à la fin des années soixante-dix, évolue considérablement sous l’impulsion des succès de l’École russo-soviétique. Le lien apparent entre concours et politique internationale est déconstruit pour laisser place aux enjeux esthétiques et culturels qui seuls influencent le palmarès. Le deuxième volet de notre étude nous amène à envisager les particularités de chacune des écoles de piano, puis à les comparer pour établir dans quelle mesure elles s’influencent mutuellement et se distancient. Des facteurs cruciaux des échanges franco-soviétiques sont pris en considération, comme l’essor de la vie culturelle souterraine en U.R.S.S. à partir du milieu des années soixante. Notre étude se fonde sur le dépouillement de six fonds d’archives, notamment le Fonds Long de la Bibliothèque Mahler, les archives de la Fondation Long-Thibaud-Crespin, celles du Centre des archives diplomatiques de la Courneuve ainsi que celles de l’A.L.A.PWhat role does the Marguerite Long International Music Competition play in the context of Cold War? In other words, how important is this culture transmission vector, where two piano traditions so contrasted as the French and Soviet piano schools confront each other on the basis of aesthetic matters? The aim of this thesis is to understand the mechanism of the Marguerite Long competition and its impact on piano playing, which significantly evolves from the 1950s until the late 1970s, influenced by the successes achieved by the Soviet-Russian piano school. The apparent link between music competitions and international politics is deconstructed to put an emphasis on cultural issues, which solely determine the list of award winners. The second part of this thesis consists in examining the particularity of both piano schools, comparing them to ascertain to what extent they mutually influence each other or distance themselves. Crucial aspects of Franco-Soviet cultural exchanges are taken into account, such as the full development of underground culture in the USSR from the mid-1960s. This study was conducted on a systematic analysis of six archival holdings, notably those kept by the Fonds Long of the Bibliothèque Mahler, the Long-Thibaud-Crespin Foundation, the Center of diplomatic archives in la Courneuve and archival sources regarding the A.L.A.P. (Parisian Literary and Artistic Agency)
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chen, mei-lin y 陳美霖. "Taiwan the strategy of industrializing the music competitions". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/48676275647004079791.
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碩士國立中山大學
劇場藝術學系碩士班
99
英文摘要 The main subject of this thesis is to discover the strategy of industrializing the music competitions held in Taiwan. Case study and interview key persons were ways employed to collect materials, and Delphi Method was used later for further examination. Because of the geographical limitation on this subject, the author first explained the connection between the music competitions and the culture and education condition in Taiwan’s society. In the second chapter, the urge of industrialize the music competitions was revealed from cultural, economical, and educational point of views. It was in this chapter that the author was aware music competitions, as merchandise, should have their own life cycle during the process of industrialization. Therefore the strategy corresponding to each developmental stage should be different from each other. Four examples were raised in Chapter three to display various developmental stages of music competitions; they were the International Music and Arts Competition(held at Hong Kong, partnership with Greenery Music Limited). The International Taipei Chopin Piano Competition(held by Fredric Chopin Foundation of Taipei); Yamaha National Music competition(held in Taiwan, by Yamaha KHS music co., Ltd); Asia Beat-- Yamaha Band Contest(held in Taiwan, by Yamaha KHS music co., Ltd). In Chapter four, the author suggested a model for industrializing the music competitions, 12 experts in this field were consulted in the rules of Delphi Method then. In Chapter five, final strategy were concluded, they were as the following: I The leading stage of industrialization: branding the music competition. II The developmental stage of industrialization: market the competition and set the standard Operation Procedure Process（SOP）of it. III The stable stage of industrialization: forming a supply chain of the music competition profession. IV The declination stage of industrialization: re-model the brand, for better connection of the masses and greater benefit as well.
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Nzimande, Sipho Justice. "Choral competitions : a critical appraisal of their relevance to music education in KwaZulu". Thesis, 1993. http://hdl.handle.net/10530/730.
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Submitted in fulfilment or partial fulfillment of the requirements for the degree of Master of Education in Music in the Faculty of Education at the University of Zululand, 1993.A big question for the researcher is whether the current school choir competitions have positive or negative effects on the choristers and the rest of the community. Therefore the aim of this study is to look for the possibilities of enriching this choral practice or drawing everyone's realisation to the effects that exist in choral competitions. The procedure of interviews and questionnaires has been employed because not much information about this study has been investigated and preserved. The habit of competitions is retraced back from the Zulu culture, where there exists a non-musical competition. Speech and melody, harmony and rhythm is cited with the nature and African tendencies in mind. The NATAL AFRICAN TEACHERS' UNION is an organisation that has made and kept school competitions going. Four regions of NATAL have been used as a field of study. This is because each of these regions has a college, and colleges also serve as a source of information. Questions used during research have been justified with an intention of making it possible for the researcher to get information related to attitude, experience, amount of participation and the level of literacy.
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CHEN, HUI-HSIN y 陳慧欣. "A Discussion of Selected Trumpet Repertoires in the 7 International Music Competitions from 2000-2018". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/zhfv94.
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碩士東吳大學
音樂學系
107
There are several international music competitions established for more than half a century, include: Internationaler Musikwettbewerb der ARD München, the Budapest Music Competition and Prague Spring International Music Competition. Despite those international competitions, there are some international competitions held just for brass instruments, which are: Jeju International Brass Competition and International Competition “Città di Porcia”. Moreover, there are some competitions conducted mainly just for solo trumpet, such as: Ellsworth Smith International Trumpet Solo Competition and “Maurice André” Trumpet Competition. This thesis discusses the repertoire chosen from above 7 international music competitions from 2000 to 2018. The repertoire is listed and sorted according to the periods of Western art music, which compares the frequency of the repertoires and the characteristics of repertoires in different timeframe according to the western classical music hitory. The thesis also examines the skills and feature of the music among these repertoires. The winners and the juries are also listed as the reference. The information for Ellsworth Smith International Trumpet Solo Competition from 2000 through 2018 was not complete due to data unavailability.
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Brunt, Shelley Dorothy. "Performing community : Japan’s 50th Kōhaku song contest". Thesis, 2006. http://hdl.handle.net/2440/70157.
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"South African choral music (Amakwaya) : song, contest and the formation of identity". Thesis, 2002. http://hdl.handle.net/10413/3083.
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Amakwaya refers to the tradition and performance practice of choirs in South Africa that
emerged from the mission-schools in the nineteenth century and is manifest today in the annual
competitions held by various Teachers' Associations or company-sponsored events like the
National Choir Festival. This choral practice, combining Western music styles with African
tradition, bears the marks - both social and aesthetic - of colonial and missionary influences,
and is closely linked to the emerging black middle class, their process of negotiating
identity, and their later quest for a national culture. Many aspects of contemporary amakwaya
performance practice, it is argued, including the recent interest of many members of the
amakwaya community in opera, can be understood through an analysis of the social dimensions of
these choirs. Particular attention is given to the role played by competitions and the
sectionalised repertoire. The criticisms made in this regard flow from an understanding of the
social meaning and aesthetic thrust of the tradition, from the author's practical involvement
with the choirs, and from extensive discussions with choristers and conductors. The first part
of the thesis is concerned with identifying the role played by European values such as those of
education and progress, in the self-understanding of the emerging missioneducated black South
African elite in the second half of the nineteenth century. An initial tendency towards
uncritical imitation and attempts at assimilation ended in the experience of rejection by the
settler community and isolation. It was followed, in the last quarter of the nineteenth
century, by a complex negotiation between traditional and modern values. With political, social
and economic mobility restricted in white South Africa, the black middle class turned towards
artistic expression such as choral singing in order to define and express a distinctively
African concept of civilisation. In this process, amakwaya performance developed into a
powerful means whereby class identity and consciousness could be constructed and communicated.
The second part looks into the framework of amakwaya, and at the mission schools and colleges
they attended and the competitions they organise. As a result of the practice of hymn singing,
participation in a choir soon became an important part of the leisure time activities of the
early mission converts. This formative phase of amakwaya is illustrated in a case study of one
of the most influential schools in Natal, Adams College, near Amanzimtoti, where the first
black South African School of Music was established. In order to promote the values important
to the missionaries as well as their converts - discipline, progress, and success -
competitions were encouraged at the mission stations. These became models for the competitions
which today are the main feature of amakwaya practice. The voices of various members of the
community are used to present a critical evaluation of the positive and negative aspects of
present-day competitions. The last part of the thesis concentrates on amakwaya repertoire,
particularly as it is represented at important choral competitions such as the National Choir
Festival. This part also attempts to facilitate an understanding of the genesis, structure and
aesthetic of the sectionalised repertoire, which consists of neo-traditional songs, Western
compositions, and choral works composed by mission-educated musicians. Strict adherence to the
sectionalised repertoire is a unique feature of amakwaya performance practice to the present
day.Thesis (Ph.D.-Music)-University of Natal, 2002.
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Chung, Ming-chih y 鍾明芝. "The Selective Status and Guidance Principles of Six Frequently Chosen Pieces for Elementary-Leavel Cildren Chorus Group B in the 2002-2010 National Student Music Competitions". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/dk47vz.
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碩士國立臺南大學
音樂學系碩士班
99
The purpose of this research is to realize the selective status of Frequently Chosen Pieces (FCP) for Elementary-level Children Chorus Group B in Taiwan’s National Student Music Competitions (NSMC), and to confer the guidance principles for the Six Frequently Chosen Pieces (SFCP). In the beginning of study, the author collected all 130 optional pieces from elementary-level children chorus group B of NSMC, and there were 26 pieces had been chosen repeatedly by chorus in different performance. The author also analyzed the pieces in accordance with chosen times and categories. Furthermore, the author respectively interviewed 14 instructors of the chorus, attended the NSMC and chose the FCP, to realize their guidance principles and viewpoints of the FCP. The conclusion of the research: 1. From year 2002-2010, there were six pieces had been chosen exceeding four times in NSMC Elementary-level Children Chorus Group B. They are “Trish Trash Polka,” “The Holy City,” “There is No Other Salvation,” “Nearer My God To Thee,” “Festival Sanctus,” and “Panis Angelicus.” 2. All 14 instructors emphasized that to perform the FCP the chorus’s timbre should be brilliant. 3. The instructors all pay much attention to basic vocal technique of chorus teaching. 4. The common characters of the SFCP are pleasant melody, unabridged harmony, brilliant temple, and bright style. 5. All instructors agreed that music competition brings constructive effects for chorus teaching. Although there are certain pressures both on students and instructors, it is not only a great opportunity for students to perform on the stage, but instructors also have a chance to learn from each others, and even create more pieces to learn.
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Tung, Hao-yun y 董皓雲. "A Study on the Impact of Cheer Music to the Professional Baseball League Competitions in Taiwan: Using Brothers-Elephants and Sinon-Bulls from the Second Half of the 2004 Baseball Season as Example". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/38621746062229968568.
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碩士東吳大學
音樂學系
95
The history of the development of Taiwan’s baseball, as an exercise, has been more than a hundred years. However, there hasn’t been any nonverbal or any other kind of record on the cheer music during the ball games. Thus, this essay will firstly confirm, by researching and organizing the sources of baseball history, the beginning of Taiwan’s baseball cheer music. And to build up a complete system and chart for the development of Taiwan’s baseball cheer music. Secondly, this study has compiled ninety-eight songs of live cheer music from Brothers-Elephants and Sinon-Bulls’ games in Taipei area in the second half of the 2004 season (the 15th year of Chinese Professional Baseball League). Data were being analyzed and sorted in this essay based on style and performing methods. Taiwan’s baseball cheer music can now be organized and displayed systematically in front of the readers. This study, in the end, will also show the correlations between the cheer music, the fans’ interest, the excitement of the game, and team’s momentum among team members based on the survey result of 49 players from both teams and 196 fans who participated the game.
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Lee, Hsi-fei y 李析霏. "Key Success Factors of Music Ensemble : Using the Pingtung County Music Competition as Example". Thesis, 2011. http://ndltd.ncl.edu.tw/handle/88878613224814644322.
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碩士國立屏東教育大學
音樂學系
99
The purpose of this research was to locate the key success factors of music ensemble through an analysis of the operation strategies, the coaching techniques, and the administrative support from the school. This research employed a qualitative research method. Techniques utilized in this research included semi-structured interview, participant observation, document analysis. The research objects include music teachers and staffs of the four winning teams of the Pingtung County Music Competition from 2005 to 2008. This research was conducted from February, 2010 to December, 2010. Data was coded and analyzed after finding themes across four cases and was presented as four stories and also a key success factors analysis. Major findings of this research were categorized as two folds: 1. The key success factors of music ensemble from both musically-talented program and the school clubs were listed as follows: （1） The characteristics and professional skills of music teachers who were responsible for training were very important to the success of the music ensembles. （2） The school principal’s belief and the support from the executives, teachers, students and parents were essential to the success of the music ensembles. （3） The educational meaning the winning teams’ members received from the process of training transcended the pleasure of being the champions of music competitions. 2. The key success factors of the music ensembles from musically-talented program and the school clubs were identified respectively as follows: （1） The professional curriculum design, the collaboration between the music teachers and the administrative teachers, the ensemble members’ experiences and music talents, and the parents’ support were key factors to the success of the music ensembles from the musically talented program. （2） The music teacher’s coaching strategies and the support from the school were key factors to the success of the music ensembles from the school clubs. Based on the research findings, several recommendations were provided for future researchers, the school board, and teachers who are coaching music ensemble.
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Coles, Drew Xavier. "Perceptions of Success Among Music Professionals". Thesis, 2019. https://doi.org/10.7916/d8-fnch-ek86.
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The primary purpose of this study was to investigate the subjective and objective career success perceptions of music school graduates who now identify as professional musicians. This study approached that purpose in four ways. First, the study examined how musicians conceptualized success compared to the literature. Second, the study investigated how musicians conceptualize how success is shown in themselves relative to how it appears in others. Third, the study examined if and how musicians attribute the success that they have achieved in their careers to the institutional preparation they received at academic institutions. Fourth, the study investigated the possibility that geography may play a role in sculpting the perceptual values and qualifiers of success in musicians.
This study was informed by the literature surrounding the area of careers, career success, career development as it pertains to musicians, and career success as it pertains to musicians. A survey was the research tool utilized for this descriptive study, and the survey was constructed and facilitated via Qualtrics Software. The survey included 26 Likert-type questions and seven open-ended questions. The sample population used for this study was 326 participants from the New York City Chapter of the American Federation of Musicians Union. The data that was collected from the survey was organized, analyzed, and synthesized to discover emerging themes and answers to the guiding research questions.
The findings of this study suggest that musicians understand and value the points of the comparison that those outside of the field of music may use to value and evaluate their own careers. The findings of this study also suggest that musicians may perceive some of the underlying components that make up career success differently in themselves that they do in others. Further, support is provided in this dissertation for the understanding that objective career success and subjective career success are linked in a way that is underrepresented in the literature, and thus is underrepresented in the discussion of the two concepts.
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"Playing to win: A cultural sociology of the international music competition". YALE UNIVERSITY, 2009. http://pqdtopen.proquest.com/#viewpdf?dispub=3342731.
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Hsiang-Yun, Tseng y 曾湘雲. "An Examination on The Relationship between Market Competition And Music Diversity :A Study on Taiwan’s Popular Music Industry". Thesis, 2004. http://ndltd.ncl.edu.tw/handle/11352977973831562055.
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碩士國立交通大學
傳播研究所
92
This study examines the relationship between market competition and music diversity in Taiwan’s popular music industry. A probability sampling using the top-10 hits from 1990-2003 as the population frame was adopted and 664 albums were selected for content analysis by the study. Based on the data available in Taiwan, this study identified two years, 1993 and 1996, as the changing points of market competition in Taiwan’s popular music industry. The data analysis shows that degree of music diversity increased after several music channels began broadcasting in Taiwan in the end of 1993, but music diversity was lowered after five transnational music groups take control of Taiwan’s music market in 1996. Furthermore, this study found that the major theme appearing in Taiwan’s popular music was romantic love, which accounted for more than 80% of the albums analyzed. More detailed findings was discussed in the paper.
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Kwak, Na-Young. "Selected repertoire from the Gillet International Oboe Competition & the International Oboe Competition of Tokyo, 1995-2005". 2006. http://hdl.handle.net/1903/9714.
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"A Phenomenological Investigation of Competition in High School Bands". Doctoral diss., 2016. http://hdl.handle.net/2286/R.I.40764.
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abstract: This study investigates the lived experience of competition in high school band and the manner in which competition influences and frames band curricula. A hermeneutic phenomenological method based on the works of van Manen and Vagle was used to investigate what it was like for participants to be in competition. A theoretical framework organized around Schwab's commonplaces of education was used to interpret findings related to the curricular areas of the teacher, learner, subject matter, and milieu. I examined data through a lens incorporating principles of John Dewey's philosophy related to each of the commonplaces.
Twelve individuals participated in the study representing experiences had both as students and as music educators. Participants lived and taught in communities throughout the United States and brought differing levels of teaching and competitive experience. Data were generated through in-depth interviews and collaborative phenomenological texts. Research questions included: What is the lived experience of competing in a high school band like?; and, How does competition frame and influence high school band curricula?
Findings indicate that competition was a meaningful and influential part of participants' work as band directors and educational experiences as students. Competition was approached with tension as participants acknowledged negative concerns over the influence of competitions on their students, yet chose to engage in competitive activities. Marching band contests offered a creative outlet where directors could develop custom materials and they did so with a significant motivation to win. Competition was perceived as an influence on band directors' professional reputations, feelings of competence, and how band programs were viewed in the community. Students were motivated by competitions and reacted strongly to competitive results such as rankings, ratings, and other distinctions.
Findings also indicate that band curricula emphasizing competition share similar curricular facets: (a) teachers carefully control and manage classroom activities and curricular choices; (b) students are viewed as skilled performers who are dependent upon their teachers for learning; (c) subject matter is narrowly considered around measurable behavioral objectives and repertoire selection; and, (d) the educational environment is dominated by the teacher who may use competition to motivate students to work and practice more.Dissertation/Thesis
Doctoral Dissertation Music Education 2016
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Huang, Wei-Pin y 黃薇儐. "Competition Strategy in Digital Music Industry-A case of Apple Computer, Microsoft, SONY". Thesis, 2005. http://ndltd.ncl.edu.tw/handle/56733810978274167566.
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碩士國立臺灣大學
商學研究所
93
The purpose of this research is not only to analyze activities and competition between systems and corporations in digital music industry which with network effect, but also to predict the future development as well as market power switch in this industry. Based on system competition theory and co-opetition theory as framework, this research analyzed the competition strategy of Apple computer, Microsoft and SONY in each dimension, including customer, supplier, complementor and competitor side. According to the analysis result, the conclusions are as follows: DRM standard competition: there won’t be any dominant standard and Apple will hold the leading position in the short term. Taking advantage of alliance with hardware/software/online music shop, Microsoft’s DRM system will increase its installed base rapidly. Therefore, the standard competition between Apple and Microsoft is continuing. System competition: Apple who is predicted not to open its FairPlay DRM to others may have possibility to open its DRM to other “online music shops” in the long run for some strategic reasons. Microsoft keeps licensing WM DRM as more as possible to increase its installed base, and further, to accomplish Microsoft’s “digital home center” goal. SONY whose current status is inferior to Apple and Microsoft will prioritize to integrate corporation resources like motion picture, music, consumer devices. Besides, this research predicted that SONY and Microsoft may work together to rival with Apple system for both-side interests. Regarding to content suppliers, music groups will keep licensing their content to online music shops and the new-coming mobile music service providers. Further, music group will promote download music legally instead of illegal P2P downloads and file-sharing. As to the online music shop owners, they are faced by keen competition and low price pressure. To prevent or solve this problem, they need to think thoroughly about how to increase consumers’ value by forming community, value-added services and other means to differentiate itself from competitors.
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Su, Li-Min y 蘇麗敏. "Critical success factors of National student music competition of recorder ensemble in elementary school". Thesis, 2014. http://ndltd.ncl.edu.tw/handle/prvt8n.
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碩士國立彰化師範大學
資訊管理學系所
102
Recorder Ensemble Competition is one of the largest activities held by The Ministry of Education for elementary schools group competitions within annual “National Student Music Competition ". However, in the process of teachers’ training education, the training education of grouping students for such competitions is not complete and well organized, so as the instructors are not with expertise and well knowledge in group training and thus causing the situation of insufficient preparation for competitions. Therefore, the main purpose of this research is to provide a clear structure of checking critical preparation processes to instructors, and thus to improve the performance of attending such competitions, and finally to archive the ideal targets of the competitions. The method of this research is to discuss literatures and references, to use Delphi Technique and AHP, and then to summarize the evaluation items and analysis of importance of such items. The contribution of this research is to have an integrated analysis by adding the opinions from competitions’ judges, not just discussing and analyzing from the instructors’ perspectives. The result of this research shows “expertise and intelligence factor” is the most important structure, of which, instructors “capability of analysis and interpretation in music” is the most important critical success factor. The most important critical success factor of group training is “the method of cultivating basic skills of playing recorder”. “The support from school administration departments and the cooperation from school teachers” is the most important resources and supportive strength.
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Calonico, Robert Michael. "Competitive jazz festivals: what motivates Northern California instrumental music teachers to participate in them?" Thesis, 2016. https://hdl.handle.net/2144/16839.
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In this study, I explored the motivations of high school instrumental music teachers to participate in competitive jazz festivals, specifically those sponsored by the California Music Educators Association (CMEA) Bay Section. I was interested in learning the specific needs participation in competitive festivals satisfied for high school music educators. Based on the tenets of Self-Determination Theory (SDT), I investigated whether the three basic psychological needs of autonomy, competency, and relatedness were among the needs being satisfied. I was curious whether an individual’s background in jazz or any other factors had any bearing on their decision to participate. Through interviews teachers shared their experiences, both positive and negative, of participating in competitive jazz festivals.
The following research questions guided this study:
1. What motivates high school music teachers to participate in competitive jazz
festivals?
2. What specific needs are satisfied through their participation?
3. How does one’s jazz background influence motivation to participate in CMEA Bay Section events?
In answering the aforementioned research questions, I chose a case study design. Interviews with twenty-nine high school instrumental music teachers were conducted at their respective work sites, except for three phone interviews and one via electronic mail.
Five themes identified through data analysis about festivals specifically included feelings about competition, judging, negative feedback from adjudicators, hearing and seeing other groups, and a suggestion for the addition of a clinic for all participating groups. Six general themes about CMEA Bay Section or participants’ feelings included more progressive thinking, a perception that youth among adjudicators was inadequately represented, a notion that festivals provided opportunities for process and growth, a feeling that many were forced to weigh the costs versus the benefits of participation, an expressed feeling of isolation in the profession, and a lack of awareness on the part of administrators about their participation in CMEA Bay Section jazz festivals.