Tesis:

1

Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface". James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.

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The research focuses on quality issues within the private music teaching industry and the public music examination system (PMES). It is clear that there is a schism between the formalized structures and accountabilities of music in the school system and the lack of such structures and accountabilities with the private studio music teaching industry. The Thesis traces the literature documenting the rise of the private music teacher and the accountability rationale implicit in the development of the public music examination system. The dual aims of the research focus on the need to profile the private music teaching industry in Australia and to probe the extent to which the public music examination system might, in practice, afford a window of accountability on to this industry. The literature foregrounding this study derives from three areas: the historical development of the private music teaching industry; the concomitant need for certification - and the resultant development of the public music examination system; finally the issue of performance assessment across the relevant disciplines is explored to provide research direction for music. A limited profile of the private music teacher emerged from the first phase of the study. While the respondent sample was smaller than was originally envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the findings from the current study were consistent. The second phase focussed specifically on the public music examination system and its tangible outcomes in the form of the examination report. Five examiners were male and three female. Reports were analyzed in terms of the relevant examination sections with a primary focus on the Technical and Performance lists sections. In each section reports were segmented into idea units as the basic unit for analysis. Categories were derived from the data and each idea unit was categorized accordingly. Examiners’ use of categories was analyzed in each section and comparisons made between examiners. Considerable examiner variability was identified. A discussion of gender differences in accessing categories generates hypotheses for further research. Discussion of marks awarded by examiners leads to hypotheses about the implications of exposure to one examiner rather than another. While this is but a small scale study and possibly the first in the music genre, its implications for further research are far-reaching. Implications for the discipline are also explored.

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2

Cleary, Theresa Mary. "Music performance anxiety in children within the context of practical music examinations". Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646844.

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As part of their musical training, young musicians are often entered for practical music examinations. Many are anxious about performing in front of an examiner, sometimes to the extent that they do not perform to the best of their ability, which can result in a lower mark than anticipated. The present research was designed to explore Music Performance Anxiety (MPA) and possible interrelationships among gender, practice, self- esteem, music self-efficacy, perceived criticism (from family), music negative perfectionism, and performance (marks attained). Overall the thesis comprises of three studies. All employed quantitative research methods throughout. Study 1 included 194 participants and was designed to develop a new measure of Musical Performance Anxiety for young musicians. Principal component analyses revealed two components. The first component had 20 items and appeared to measure cognitive/somatic sensations. It was shortened to a 13 item scale (MPAI-C) to ensure that the measure was not too long for the young participants in this study. The new measure showed satisfactory reliability and provided evidence of good convergent and divergent validity with other measures employed in the study. The second component was labelled 'Negative Affect' (NA) and comprised of 9 items. Study 2 was designed to develop a new Music Perfectionism measure. Data from 186 participants were analysed. Principal component analyses identified three components. The first component had 10 items and appeared to measure "negative perfectionism". The second component had 6 items and appeared to measure "teacher pressure". The third component had 6 items and appeared to measure "parental pressure". The negative perfectionism subscale (MPI-C) showed a satisfactory reliability and provided evidence of good convergent and divergent validity. The purpose of study 3 was to test a proposed model of MPA and possible interrelationships between music negative perfectionism, perceived criticism (from family), music self-efficacy, self-esteem, practice, gender and performance. A revised model was established using path analyses with Mplus software. The data from 304 participants indicated that males were more affected by perceived criticism from family and did more practise than females. Practice and music self-efficacy revealed a positive direct association with performance, while MPA showed a negative direct association with performance. A direct positive relationship was found between music negative perfectionism and MPA, while a negative relationship was shown between music negative perfectionism and self-esteem. A positive association was found between self-esteem and music self-efficacy, which in turn had a direct negative association with MP A. The final model provided an insight into the effects of MPA and the associations between other factors in relation to performance in young musicians in practical music exams. The findings from the present study have implications for students, parents, music teacher training, and future policies regarding curriculum development within music education worldwide.

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3

Olsen, Patrick Garrett. "Assessing improvisation in graded music examinations : conflicting practices and perceptions". Thesis, University of Cambridge, 2019. https://www.repository.cam.ac.uk/handle/1810/290079.

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For a practice that has influenced the development of most of the musical techniques and compositional forms of Western music (Ferand, 1965, p.5), 'improvisation' is challenging to define. Recently, the graded music examinations offered by the two largest UK-based music examination boards, the Associated Board of the Royal Schools of Music (ABRSM) and Trinity College London (TCL), have added options to assess improvisation within their instrumental curricula without clearly defining what they mean by 'improvisation' or how they assess it. This thesis argues that the lack of consistent definitions by the two leading examination boards results in a lack validity and meaning since it is unclear to examination stakeholders (music teachers, students, examiners and syllabus authors) exactly what is being assessed and how. This thesis investigates how 'improvisation' is defined, practiced, assessed and perceived within instrumental graded musical examinations. Evidence addressing the perspectives of the teaching-and-learning stakeholders is drawn from case-study observations and interviews of instrumental music lessons while candidates prepared for and completed an examination requiring improvisation. The perspectives of the examination board stakeholders are investigated through document analysis of the syllabuses, curricula and institutional websites of the examination boards in addition to interviews with examination board executives. The findings provide an initial investigation into an unexplored intersection of music education, improvisation and the business of graded examination boards. A clearer understanding emerges of the cultural and social practices of improvisation both inside and outside of the hegemony of graded examinations and the teaching-and- learning communities that support them. The findings of this thesis challenge the examination boards and bring more clarity to their assessment practices. and can help guide music teachers and students through the currently unclear landscape of improvisation in the ABRSM and TCL examinations.

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4

Ang, Kathryn. "Teaching Western classical piano music effectively in West Malaysia". Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41371.

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The existing curriculum for piano lessons in West Malaysia is over-reliant on the syllabi of foreign examination boards resulting in a fragmentary curriculum which denies the student access to a wider range of musical experiences. The aim of the study was to identify and suggest solutions to problems by analysing the teaching approaches of piano teachers and to determine if there are elements which are lacking in the lessons. It also aimed to provide solutions by establishing a theoretical framework for effective piano teaching with optimal lesson plans. This study made use of mixed methods research design. A cross-sectional survey was conducted and data collection was by self-structured questionnaires. In addition, interviews were conducted for the qualitative component of this study. Twenty-five piano teachers with between one to twenty years of teaching experience were randomly selected to participate in the survey. A further fifteen interviews were conducted with teachers who were selected from the participants of the survey by purposive sampling. Interpretative phenomenology analysis was used to analyse the interviews in an effort to gain a better understanding of the nature and quality of the piano teaching in West Malaysia. The study finds that having piano examinations with regularity, usually on a yearly basis, has largely dominated the curriculum with examination requirements and has resulted in several elements being missing or absent in a typical lesson. Hence the situation is clearly not ideal as lessons are too examination oriented. Furthermore, students are generally not exposed to sufficient opportunities to display their skills and musical achievements. These findings suggest that Western classical piano music can be taught more effectively in West Malaysia if teachers re-think their approach to teaching in terms of planning for an optimal lesson. This would involve having both long-term and short–term goals in which a variety of strategies and important elements are incorporated seamlessly using the “simultaneous learning” approach advocated by Harris, Crozier and Ley.
Dissertation (MMus)--University of Pretoria, 2013.
gm2014
Music
unrestricted

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5

Ross, Valerie y kimg@deakin edu au. "EXTERNAL PUBLIC PIANO EXAMINATIONS IN MALAYSIA: SOCIAL AND SYMBOLIC SIGNIFICANCE". Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20031028.140256.

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The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-rausicological phenomena.

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6

Ross, Valerie y mikewood@deakin edu au. "External public piano examinations in Malaysia: Social and symbolic significance". Deakin University, 2002. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050808.135747.

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The thesis investigated the social and symbolic significance of acquiring a 'music education' through the taking of piano tuition and external public music examinations. It aimed to discover why the learning of the piano and the certification of musical attainment are so prevalent and revered among Malaysian music students. Its purpose was to unravel the socio-cultural raison d'etre of this approach to music education through the creation of a metatheoretical schema, which is premised upon the theories of symbolic interactionist, George Herbert Mead, music analyst, Heinrich Schenker and social theorist, George Ritzer. Central to the argument in this instance is the symbolic significance associated with the act of playing the piano. The investigation attempted to determine if this 'act' conveyed a symbolic meaning that is peculiar to a specific cultural vista. It further examined the degree to which this practice represented both a validation and a sense of conformity to social norms in the continuity and stability of an expanding middle class society in Malaysia. The Associated Board of the Royal Schools of Music (ABRSM) is the largest of the five main external public music examination boards that operate in Malaysia. Since 1948, over one million candidates have enrolled for ABRSM examinations in Malaysia and a team of approximately thirty ABRSM examiners visit Malaysia for three months every year. The majority of the candidates are pianists. Given such large numbers of piano candidates, one might expect a healthy development of musical talent in the country with aspiring pianists eager to demonstrate their musical prowess. However, this does not seem to be the case. On the contrary, there appears to be a curious lacuna between the growing number of students who enrol for external public music examinations and the seemingly lack of interest in public music making and the honing of general musicianship skills. The thesis hence examined the symbolic meaning of this socio-musicological phenomena.

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7

Naude, Anna Catharina. "'n Ondersoek na die geskiktheid van sillabi vir gehoortoetse in gegradeerde musiekeksamens". Thesis, Stellenbosch : Stellenbosch University, 1987. http://hdl.handle.net/10019.1/65806.

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Thesis (MMus) -- Stellenbosch University, 1987.
VOORWOORD: Gedurende my tydperk as musiekonderwyseres het ek toenemend bewus geword van die belangrikheid van gehooropleiding in die musiekopleidingsprogram enersyds, en die gebrek aan motivering en 'n voldoende metodiek andersyds. Hierdie lewendige belangstelling in gehooropleiding en die probleme wat die vakgebied omring, het aanleiding gegee tot 'n ondersoek na die geskiktheid van die gehoortoetse soos dit voorkom in gegradeerde musiekeksamens. Die hoë standaard van gehooropleiding wat Dr. P.E.O.F. Loeb van Zuilenburg aan die Universiteit van Stellenbosch daargestel het, en die groot hoeveelheid bronne oor die onderwerp wat in die Musiekbiblioteek beskikbaar was, was die hoofredes vir my keuse van hierdie Universiteit vir nagraadse studiedoeleindes.

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8

Charles, James L. Jr. "Evaluating the effects of tenth grade students' music ensemble participation in relationship to the Graduation Exit Examinations mathematics and reading scores". Thesis, Capella University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596099.

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The purpose of this study was to examine whether there is significant evidence suggesting that participants benefit more in their learning when musical art education is included in the curriculum. This nonexperimental correlational design was selected in anticipation that participation in the music program would lead to a greater increase in academic achievement, as measured by the Graduate Exit Examination. This study examined English Language Arts and mathematics test scores of 10^th grade participants who received instrumental music instruction and those participants who received no instrumental music instruction during the 2010-2011 academic school year. Three school districts located in southeast Louisiana participated in this study. School district 1 presented a total of 89 participants (N=89) who were administered the GEE during the 2010-2011 school year. There were 13 participants (n=13) who were members in an instrumental music ensemble during the same school year. There were 76 participants ( n=76) who were recognized as not being enrolled in an instrumental music ensemble. School district 2 presented a total of 225 participants ( N=225) who were administered the GEE during the 2010-2011 school year. Of 225 test takers, 16 participants (n=16) who were members in an instrumental music ensemble. There were 209 participants ( n=209) who were recognized as not being enrolled in an instrumental music ensemble. School district 3 presented a total of 317 participants ( N=317) who were administered the GEE during the 2010-2011 school year. Of the 317 test takers, 31 participants (n=31) were identified as members in an instrumental music ensemble. There were 286 participants (n=286) who were recognized as not be enrolled in an instrumental music ensemble. The methodology of this study consisted of comparing the mean scores of participants receiving instrumental music instruction at their school with the mean scores of participants who did not receive instrumental music instruction. Although findings of this study indicated the mean scores of instrumental music students were higher than non-instrumental music participants, results displayed no significant differences between mean scores of instrumental music participants and non-instrumental music participants where ( p< .05).

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9

Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.

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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.

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10

Zenker, Renate Andrea Ruth. "Understanding music cross-culturally : philosophical examination". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://hdl.handle.net/2429/12395.

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This dissertation presents a philosophical examination of an important question in music education: What does it mean to understand the music of our own culture or the music of another culture? It begins with a conceptual analysis of understanding, an analysis that reveals understanding has many different senses and that it involves a multidimensional range of considerations. The work presents an overview, summary, and analysis of various arguments, from both the Western and cross-cultural perspective, concerning what understanding music means. The literature and the arguments from the cross-cultural perspective are situated in the important debate of whether there are generic musical characteristics that can help us understand the music of non- Western cultures, characteristics shared by Western music, or if we can only understand the music of each culture based in the study of that culture. I argue that there has been an artificial "gap" created between understanding Western art music and understanding the music of other cultures. Based on my analysis of understanding, and the issues raised by the literature, I present a multidimensional and interrelated set of factors involved in understanding music cross-culturally. These factors are: elements (including expressive elements), concepts, terminology, internal/external musical context/structure, culture, listening, hearing, performing, and personal experiences, among others. This range of considerations is supported by philosophical literature on the general nature of understanding and attempts to resolve the tension between understanding music through generic concepts and understanding music through culture. The important point of the multidimensional nature of understanding for music education is that levels of sophistication of understanding are suggested and that moving from a less sophisticated to a more sophisticated level of understanding music should be a major aim of music education. Finally, I consider the educational implications of my range of considerations. Teaching for understanding music crossculturally involves both "top down" (teaching music through concepts) and "bottom up" (teaching music through culture) approaches. It also includes all the ways in which we engage ourselves with music: listening, performing, composing, improvising, and reading.

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11

Lilja, Robin. "Constraint-Based Patterns : An examination of an algorithmic composition method". Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-85001.

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This thesis examines the composition of three different musical works through the use of my constraint-based patterns. I have explored the patterns through spreadsheets and also SuperCollider: a software for algorithmic composition and audio synthesis. The aim is to find how the patterns can be used to reach clear contrasts while maintaining coherence in the music, as well as finding challenges and possibilities within the patterns, while exploring how evaluation of the artistic results can contribute to improved methods. While I see the main method as autoethnographical, with the core focus on composing, I have also used feedback from other composers, and through focus groups, as a way to collect data. Throughout this thesis I describe my process of constructing patterns and composing music, accompanied by my reasoning and relevant feedback. My results from analyzing feedback, score and patterns are that while some ways of using the patterns are well suited for achieving contrast and coherence, problems arose related to (among other things) musical form and predictability. Evaluation through feedback and interviews resulted in a better understanding of the patterns, and different workflows allowed for different viability in the evaluation. The most valuable insight is that the greater the amount of composition parameters which are controlled through constraint-based patterns, the simpler each individual composition parameter has to be in order to reach contrasting results that I find satisfying. My conclusion is that I can therefore design each individual composition parameter with high coherence to reach contrasting results when the composition parameters are applied on the same musical structure.

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12

Turner, Jacob S. "An examination of sexual content in music videos". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.51Mb, 223 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428252.

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13

Sandvik, Jan. "Examination concert : Interpreting music by three different composers". Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1660.

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This text is a personal reflection on my examination concert that took place on 17th May 2014. Instead of just preparing and performing a concert and then moving on to new projects, the writing of this text offered me a chance and an obligation to thoroughly reflect upon my work. I will shortly motivate how I made my choice of repertoire and why I chose the particular pieces. I wanted to make up an interesting program of pieces of different character. I also wanted to find pieces that would challenge me in different ways. I will then write about each piece and discuss the problems and challenges I had to solve and find a solution to. I will have a slightly different approach when discussing the different pieces. Regarding Alkan, after a brief introduction to the composer and the piano symphony, I will mainly focus on how to deal with and tackle the complex and highly demanding piano writing. Concerning the piano pieces by Pörn I will write about the emergence of them and describe them briefly. As I have had the opportunity to consult the composer while preparing his music, our cooperation has not only enabled me to get a detailed insight to his music, but it has also resulted in the composer making changes and rewriting certain passages. I will present some of these modifications, which for the most part appeared in the etudes. When it comes to the trio by Brahms, I will give an overview of some of the challenges in the piece, concerning ensemble playing and technically demanding passages in the piano part. Thereafter I will analyse the concert, first by writing about the impressions I had during and immediately after the concert, then by writing about the observations I gathered from listening to the recording. I found out that, in order to find solutions for certain interpretational or technical challenges, one needs to go beyond the printed score to find meaning, in other words, what it is that the composer wants to say. Sometimes there can be a discrepancy between the composer’s musical message and his suggestion of its execution. In some cases the performer has to decide whether he wants to carry out the composer’s instructions to the letter, or rather to find an own way of delivering the musical message.

Christoffer Pörn: Tre berättelser för piano

Johannes Brahms: Trio för piano, klarinett och cello op 114

Christoffer Pörn: Tre etyder för piano

Charles-Valentin Alkan: Symfoni för piano op 39

Medverkande: Anna Lisa Mühlig - klarinett, Jessie Liu - cello

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14

Kim, HaeOk N. "An Examination of Selected Contemporary Korean Piano Works". Diss., The University of Arizona, 1988. http://hdl.handle.net/10150/254512.

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15

Bicknell, Jeanette. ""The Mind Hears" an examination of some philosophical perspectives on musical experience /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59120.pdf.

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16

Belcher, James D. "An Examination of the Influence of Individual Differences, Music-Listening Motives, and Music Selection on Post-Listening Music Discussion". Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1277155907.

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17

Houser, Russell John. "An examination of wind band transcriptions". To access this resource online via ProQuest Dissertations and Theses @ UTEP, 2008. http://0-proquest.umi.com.lib.utep.edu/login?COPT=REJTPTU0YmImSU5UPTAmVkVSPTI=&clientId=2515.

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18

Fitzpatrick, Edmound Lee. "An examination of Thomas Pasatieri's religious music drama Calvary /". Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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19

Johnson, Madeline LeBaron. "An Examination of the Clarinet Music of Luigi Bassi". Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3958/.

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This dissertation focuses on the clarinet music of Luigi Bassi (1833-1871), an Italian clarinetist and composer. Biographical information and performance history for Luigi Bassi are included. Bassi wrote 27 works for clarinet, including 15 opera fantasies or transcriptions. Most of his works are housed in the Milan Conservatory library. This document provides analysis of all but two of Bassi's 27 works. For Bassi's pieces with ties to opera, I identified his source material and discussed the ways in which he manipulated the material. A brief synopsis of each opera is included. This study serves as a performance guide for those seeking to perform Bassi's clarinet works.

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20

Friedland, Zachary Jacob. "The Composer-Conductor: An Examination of the Relationship between Two Disciplines". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1542753869070161.

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21

Rege, Karen M. "An examination of music technology requirements for undergraduate performance majors". Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 110 p, 2008. http://proquest.umi.com/pqdweb?did=1757060791&sid=2&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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22

Dixon, Wendy. "Selection procedures relating to Australian vocal repertoire for mid-adolescent HSC performers". Connect to full text, 2006. http://hdl.handle.net/2123/1590.

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Thesis (M. Mus. (Mus. Ed.)--University of Sydney, 2006.
Title from title screen (viewed 19 March 2008). Submitted in fulfilment of the requirements for the degree of Master of Music (Music Education) to the Sydney Conservatorium of Music. Includes bibliographical references. Also issued in print format.

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23

Holmes, David M. "An examination of fifth grade instrumental music programs and their relationships with music and academic achievement /". Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/11419.

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24

Klonoski, Edward W. Jr. "A critical examination of Schenker's theory of linear progressions". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1384531914.

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25

Klonoski, Edward W. "A critical examination of Schenker's theory of linear progressions /". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487853913100111.

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26

Hansken, John R. "Making music German an examination of early Germanic musical development /". abstract and full text PDF (free order & download UNR users only), 2007. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1447589.

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27

Aslan, Jessica. "A practical examination of computer presence in electro-instrumental music". Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/25504.

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This thesis explores the following questions: What is the influence of algorithmic software on the composition process? How can spectromorphologies be manipulated in search of coherent and lucid coupling in electro-instrumental (EI) music? What are the practical implications of the performance of EI music? This thesis will unfold practicalities, creative approaches, and new directions for the practice of EI music, drawing together spectromorphological theory and instrumental techniques. Framed around a body of work for solo instrument/ensemble with computer, I will assess each aspect of my musical process. Musical vocabularies, grammatical organisation and collaborative performance practices will be discussed. Specifically, my research breaks down components of composition into context, materials and an attempt towards categorisation and grammatical organisation including spectral and algorithmic techniques. With the knowledge that the computer has influence on the music making process, I identify and discuss some of its key contributions. Additionally, knowing that the tools and spaces that facilitate performance also impact the music, I seek to understand how these tools and environments contribute in order to get the best musical responses from them. Collaboration is a key theme, and throughout the thesis I pay attention to performer presence in the music making process. This thesis should be read in conjunction with my submitted portfolio for relevant case studies and musical examples.

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28

Bishop, Daniel Tony. "A multicomponential examination of tennis players’ emotional responses to music". Thesis, Brunel University, 2007. http://bura.brunel.ac.uk/handle/2438/3667.

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The principal aim of this research programme was to examine multiple components of competitive tennis players’ emotional responses to pre-performance music. To this end, four objectives were defined: First, to develop a grounded theory (Glaser & Strauss, 1967) of players’ use of music to manipulate emotional state; second, to examine the impact of altering music tempo and intensity on players’ affective and behavioural responses; third, to identify neural origins for these phenomena; and fourth, to elucidate the role of motoneuron excitability in behavioural responses observed. These objectives were realised in four interrelated studies. First, 14 players provided quantitative and qualitative interview, questionnaire, and diary data to detail their use of personally emotive music; a grounded theory and associated model were consequently developed to facilitate future research and practice. Participants used music to attain five broad emotional states, including psyched-up; this was associated with faster tempi and louder intensities (volumes). Study 2 was conceived to examine the effects of manipulating these variables on 54 players’ affective and behavioural states, using measures based on Russell’s (1980) affective circumplex and reaction times (RTs). Faster tempi elicited higher valence and arousal, loud intensity yielded higher arousal and shorter RTs; and higher arousal was associated with shorter RTs. Functional magnetic resonance imaging was utilised in Study 3 to identify neural bases for 12 participants’ emotional responses to the same music manipulations; emotion-processing, visuomotor and sensorimotor structures were activated under high-arousal conditions. Transcranial magnetic stimulation and electromyography were used in Study 4 to investigate changes in 10 participants’ corticospinal excitability as a result of listening to purposively selected music; optimised music elicited higher arousal and reduced corticospinal response latencies. The foremost contribution of this thesis is to show that music variables may be carefully selected and/or manipulated to maximise performance-facilitating emotional responses to music in tennis.

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29

Gilmore, Abigail. "Popular music in the city : an examination of local music scenes, popular music practice and cultural policy in the city of Leicester". Thesis, University of Leicester, 1999. http://hdl.handle.net/2381/30731.

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This thesis examines popular music in the city of Leicester. It looks at local popular music practice through the activities, values and structures of support associated with local music scenes and music industry. It explores the ways in which popular music contributes to city life through the activities of particular groups involved in the production and distribution of music in Leicester. It also considers how local governance structures influence and shape music practice through cultural policy and municipal government and regulation. Using the concepts 'music scene' and 'music community' I consider how participation in popular music in the city is organised around particular sites, activities, coalitions and alliances. The production and localisation of identities, values and economies through popular music practice are considered via case study and through examination of the relationship between public sector supported initiatives and different social and music communities. In particular, I focus on the ways in which popular music is thought to represent different social groups and how this representation is an important element of local cultural policy. The social function of popular music in marking and contributing to social and cultural identity (Frith 1987) is examined in the context of urban communities and identities, and in terms of its propensity to facilitate public celebration and display of diverse ethnicities in a multicultural city. I consider the history of provision for popular music and recent policy initiatives in Leicester in comparison to other examples of urban cultural policy, which are offered as a framework for considering different strategies for urban regeneration and animation through the popular music sector. In doing so, I question the relationship between cultural value and cultural policy and discuss issues associated with local music scenes and identities and the influences on local music policy and practice.

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30

Mendoza, Juan III. "Daniel Levitan: An Examination of Select Unpitched Percussion Chamber Works". The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1449143319.

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31

Danchev, Georgi. "Anton Bruckner's Requiem in D Minor (1849)-a critical examination". FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/2473.

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The purpose of this study aimed to examine the individual aspects and realization of Anton Bruckner's Requiem in D Minor, in the context of time of creation and the surrounding cultural environment. The research attempted to discover certain analogies with preceding models and to reveal the unique approach of the composer at an early professional stage. In the process of exploring different physiognomic outlines various sources were used for prerequisite musical idioms and their transformation in the present work. The main part of the critical review was the consideration of Bruckner's curriculum factology prior to and at the time of composition. The preparation and live performance of the work provoked numerous interpretative problems. Their appropriate formulation and solution extracted basic outcomes and analytical issues. Analysis of the type of structural and compositional tools proved an authentic approach and guiding direction for its further application in Bruckner's future mature works.

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32

Dyal, Edith Irene Colvin. "An examination of factors which associate with a successful outcome in piano lessons /". Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169643.

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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.
Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).

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33

Eckardt, Allison Lenore. "Kpatsa: An Examination of a Ghanaian Dance in the United States". Bowling Green State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1214242024.

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34

Chiu, Yi-Chen. "An Examination of Stylistic Mixture in Four Bassoon Sonatas, 1720–1760". University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1505211031612502.

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35

Wadley, Darin Joseph 1969. ""...And Points North" by Stuart Saunders Smith: An examination of musical influences and a performer's guide". Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282597.

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This document will examine the work ... And Points North by Stuart Saunders Smith in an effort to reveal its musical influences and to demonstrate that the work poses unique performance and interpretive challenges to the performing percussionist. ... And Points North is a three movement work for solo percussionist/narrator which lasts approximately fifteen minutes. The piece requires the soloist to perform on an unusual array of percussion instruments, sing wordless melodies, and recite poems in the English and an American Indian language (Passamaquoddy). This document is divided into two parts. Part I will explore Smith's musical influences. Part II is a detailed performer's guide of ... And Points North. Part I begins with a brief biography of Stuart Saunders Smith. Following this, four compositional influences on his musical output will be examined. These influences are: the landscape of Maine, his love of drumming, the style of Free Jazz, and sound poetry. The manner in which these concepts influence Smith's compositional style will first be demonstrated. Then, the direct effect that the above influences have on ... And Points North will be shown. Part II of this paper will address the performance and interpretive challenges inherent in ... And Points North. First, the logistical concerns for the piece will be examined. Explored in Chapters 7, 8, and 4 are the selection and construction of the instruments needed for each movement. Detailed guidelines are given for choosing and building the instruments requested in the score. Also discussed are the mallets chosen for each movement. In Chapter 10, the placement of each instrument, setup for each movement, and entire stage configuration will be examined. Finally, in Chapter 11, solutions will be offered for the technically and musically challenging passages in the score. Throughout this document, I offer my interpretive suggestions for the preparation and performance of ... And Points North. The technical and musical guidelines described in the text are my personal solutions and should not be considered as the only possible interpretation. Performers should feel free to cultivate their own individual approach to ... And Points North.

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36

Walzel, Robert L. "Bohuslav Martinu: An Examination of Selected Chamber Music Involving the Clarinet". Thesis, University of North Texas, 1997. https://digital.library.unt.edu/ark:/67531/metadc278713/.

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The discussion dealt with stylistic influences, compositional techniques, and performance considerations of chamber music involving clarinet composed by Bohuslav Martinu and included a performance of three of his works: Quartet. for clarinet, horn, cello, and side drum, Madrigals for oboe, clarinet, and bassoon, and Sextet for flute, oboe, clarinet, two bassoons, and piano. The selections performed and discussed in the lecture show compositional growth of the composer through the three periods of his life in which he composed chamber music which included winds. These three time periods are 1923-40 during his residency in Paris, 1941-56 during his residency in the United States, and 1957 until his death in 1959 when he returned permanently to Europe.

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37

Paul, Stephen John. "Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness". Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc331148/.

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Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in the music educator or clientele groups.

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38

Stephens, Torrance T. "An examination of the effect of using rap music as an adjunct to music therapy in group counseling". DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 1992. http://digitalcommons.auctr.edu/dissertations/1998.

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This investigation examined the effects of using rap music in group counseling as a counseling adjunct. A multi-group experimental design was used to determine whether statistically significant differences would be evidenced. In addition, a methodology that employed rap music in the counseling process was developed. The subjects included thirty undergraduates from Clark Atlanta University. Although visible means differences were observed, computed t-ratio's indicated that there was no statistically significant differences between groups pre- and posttest scores as measured by Mooney Problem Checklist (1950).

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39

Popp, Shaun R. "An examination of orchestration techniques used in wind band transcriptions of a cappella choral works". Thesis, The Florida State University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3596564.

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The orchestration techniques used in wind band transcriptions of a cappella choral works have received limited attention from researchers. The primary purposes of this study were to (1) examine orchestration techniques used in wind band transcriptions of a cappella choral works, (2) note differences between original a cappella choral works and their wind band transcriptions, and (3) provide rehearsal suggestions for band conductors based on information gathered from comparisons of repertoire.

The researcher reviewed nine wind band transcriptions of a cappella choral works, as well as one a cappella choral transcription of a wind band work. The results of the investigations indicated that (1) transcribers use combinations of orchestration techniques - (a) basic part assignments, (b) complex part assignments, (c) dividing sections of the band to represent two or more vocal parts, (d) octave displacements and doublings, (e) incorporation of percussion, and (f) special effects - in wind band transcriptions of a cappella choral works, (2) transcribers adjust musical aspects of a cappella choral works - (a) bar lines and meters, (b) repeats, (c) tempo, (d) key, (e) rhythms, rests, and breath marks, (f) dynamics, (g) articulation and style markings, and (h) form and structure - during the wind band transcription process, and (3) many rehearsal implications - (a) tempo, (b) tone quality and intonation, (c) articulation and style, (d) phrasing, (e) dynamics, and (f) balance and blend - are gained from comparing wind band transcriptions to original a cappella choral works. Further research in this area might explore the orchestration techniques used in wind band transcriptions of accompanied choral works, choral transcriptions of wind band works, and original choral compositions with wind band accompaniment.

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40

Arnold, Amber Wily. "Teaching Outside a Specialty| An Examination of String-Trained Music Educators Teaching Winds in California". Thesis, California State University, Long Beach, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10840573.

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In California, music teachers are credentialed to teach all subjects in music with a single, broad credential. This practice as well as district hiring practices may result in many teachers working outside of their specialty. The purpose of this study is to determine techniques for building knowledge specifically for string-trained teachers to find fulfilment teaching students who are learning wind instruments. This study addresses the motivation for these teachers to teach students who learn wind instruments, experiences that contribute to teach students learning wind instruments, and how non-specialized teaching impacts student outcomes.

Six string-trained music educators who taught students learning to play wind instruments in California were interviewed from December 1–December 10, 2017. Despite these teachers having limited knowledge at the outset, they found teaching students learning wind instruments satisfying as they increased their own knowledge in this area. Some activities for increasing competence in teaching winds included: collaborating with colleagues, attending conferences, and referring to instrument-specific collegiate course content. Additionally, these teachers indicated that non-specialized teaching did not negatively influence student outcomes.

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41

Wilburn, Aaron W. Wilburn. "Lead by Standards? A Historical Examination of the Guiding Principles in the National Music Standards". The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1523993625484473.

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42

Schulze, Sean. "An ignored fantasy: An examination of Beethoven's Fantasy for Piano Op. 77". Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/298813.

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This document provides a comprehensive examination of Beethoven's Fantasy for Piano Op.77. While most of Beethoven's other works for solo piano have been extensively researched and performed, this work has received very little scholarly or performance attention. The prime objective of this document is to redress this omission and shed some light on a work that contains several intriguing features. After tracing the fantasy tradition from which this work emerged, this document provides an extensive background into the specific origins of the Fantasy Op.77. Amongst the issues that are discussed is this work's relationship to the Choral Fantasy Op.80 and also those piano works by Beethoven that contain fantasy-like elements. The central portion of this document is concerned with the unique structural design that underpins this work. After discussing that small body of research that does address this work, this document puts forward an original analysis that puts this work in a new perspective. This involves a more eclectic analytical approach that embraces elements of Schenkerian as well as more conventional theoretical procedures. A definite connection between the compositional procedures in this fantasy and the late piano sonatas by Beethoven is then established. Ultimately this document reveals the compositional genius of Beethoven in this little known work, specifically in his ability to mask structural unity with the outward appearance of chaos and disorder.

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43

Oyen, David W. "An examination of published orchestral excerpt study materials for bassoon and contrabassoon". The Ohio State University, 1998. http://rave.ohiolink.edu/etdc/view?acc_num=osu1302107909.

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44

Toppozada, Manal R. "Multicultural training for music therapists : an examination of current issues based on a national survey of professional music therapists". Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2276.

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In the current environment of increasing cultural diversity, it appears vital that music therapists are trained to understand the issues involved in working with clients from different ethnic and cultural backgrounds. The purpose of this study was to examine professional music therapists' knowledge of and attitudes toward relevant multicultural issues. The study attempted to answer the question of whether there is in fact a need for multicultural training for music therapists, and if so, in what areas. A survey designed by the author was sent to 500 music therapists across the country, resulting in 298 usable responses. Analysis of the data revealed strong support for the underlying dimensions of multiculturalism, with weaker support for implementation of multicultural policies. Support for multiculturalism was correlated more strongly with attitude than with knowledge subscores. Data were also analyzed by age, gender, ethnicity, geographical location, and level of education. Significant differences in scores were found between respondents in the New England and the South Central regions of the country (p s .05). Significant differences in total and knowledge scores were found between respondents holding a Ph.D. and those with a Bachelor's degree. There were no significant differences between minority and majority culture groups. Females had consistently higher scores than males, but the differences were not significant. Also, with regard to age, results showed an improvement in attitude scores as age group increased. Results showed that 78.2% of respondents support multicultural training for music therapy students.

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45

Cannon, Bryan. "Notes, Phrases, and Clauses: An Examination of Identity in Music Focused Conversation". TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1269.

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Music is everywhere. From formal occasions to a person’s morning run. Music is available on cell phones, computers, in religious ceremonies, at concerts and venues. Music is seen by society to be important and a person’s choice of music can be used to present an identity. The question considered in this article is how people talk about music and how they present identity through their discussion. The current study examines eight focus groups of three actors instructed to simply talk about music. The discussions were recorded and analyzed in a conversation analytic style to identify the structures of the conversations and how these were used to present and regulate identity. Participants also provided background information about their music preferences and experiences as well as their goals in managing their self-presentation. The results of the study focus on the general question of “What kind of music do you listen to?” and how participants managed their answers. Particular attention is given to actors’ management of opportunities to create an in-group identification and avoid inference rich categorization. This study focuses primarily upon different ways this can be managed. Examples include three part list use, storytelling, subgenre specifications, and the use of phrases like “I listen to all kinds of music.” It is argued that these devices can be used by an actor to present themselves as a member of the current in-group while avoiding being categorized in a possibly negative way based on their music choices.

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46

Faraldo, Pérez Ángel. "Tonality estimation in electronic dance music: a computational and musically informed examination". Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/463079.

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This dissertation revolves around the task of computational key estimation in electronic dance music, upon which we perform three interrelated operations. First, we attempt to detect possible misconceptions within the task, which is typically accomplished with a tonal vocabulary overly centred in Western classical tonality, reduced to a binary major-minor model which might not accomodate popular music styles. Second, we present a study of tonal practises in electronic dance music, developed hand in hand with the curation of a corpus of over 2,000 audio excerpts, including multiple subgenres and degrees of complexity. Based on this corpus, we propose the creation of more open-ended key labels, accounting for other modal practises and ambivalent tonal configurations. Last, we describe our own key finding methods, adapting existing models to the musical idiosyncrasies and tonal distributions of electronic dance music, with new statistical key profiles derived from the newly created corpus.
Aquesta tesi doctoral versa sobre anàlisi computacional de tonalitat en música electrònica de ball. El nostre estudi es concentra en tres operacions fonamentals. Primer, intentem assenyalar possibles equívocs dins de la pròpia tasca, que normalment es desenvolupa sobre un vocabulari tonal extremadament centrat en el llenguatge de la música clàssica europea, reduït a un model binari major-menor que podria no acomodar fàcilment estils de música popular. Seguidament, presentem un estudi de pràctiques tonals en música electrònica de ball, efectuat en paral·lel a la recol·lecció i anàlisi d'un corpus de més de 2.000 fragments de música electrònica, incloent diversos subgèneres i graus de complexitat tonal. Basat en aquest corpus, suggerim la creació d'etiquetes tonals més obertes, que incloguin pràctiques modals així com configuracions tonals ambigües. Finalment, descrivim el nostre sistema d'extracció automàtica de tonalitat, adaptant models existents a les particularitats de la música electrònica de ball, amb la creació de distribucions tonals específiques a partir d'anàlisis estadístiques del recentment creat corpus.
Esta tesis doctoral versa sobre análisis computacional de tonalidad en música electrónica de baile. Nuestro estudio se concentra en tres operaciones fundamentales. Primero, intentamos señalar posibles equívocos dentro de la propia tarea, que normalmente se desarrolla sobre un vocabulario tonal extremadamente centrado en el lenguaje de la música clásica europea, reducido a un modelo binario mayor-menor que podría no acomodar fácilmente estilos de música popular. Seguidamente, presentamos un estudio de prácticas tonales en música electrónica de baile, efectuado en paralelo a la recolección y análisis de un corpus de más de 2.000 fragmentos de música electrónica, incluyendo varios subgéneros y grados de complejidad tonal. Basado en dicho corpus, sugerimos la creación de etiquetas tonales más abiertas, que incluyan prácticas modales así como configuraciones tonales ambiguas. Por último, describimos nuestro sistema de extracción automática de tonalidad, adaptando modelos existentes a las particularidades de la música electrónica de baile, con la creación de distribuciones tonales específicas a partir de análisis estadísticos del recién creado corpus.

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47

Martingo, Ângelo Miguel Quaresma Gomes. "Music as postmodern thought : a critical examination of George Crumb's Makrokosmos I". Thesis, University of Sheffield, 2004. http://etheses.whiterose.ac.uk/6060/.

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This thesis discusses the piano works of George Crumb, particularly Makrokosmos I, in the light of the Adornian critique of the post-war avant-garde and of Lyotard's theorisation of the postmodem. According to Adomo and Lyotard, modem thought is characterised by a totalising nature and both the Adomian critique of the post-war avant-garde and Lyotard's theorising of the postmodern are directed toward the critique of that character. This thesis shows the way in which Crumb's composition responds to this critique of modernity. Elements of musical structure, text treatment, exploration of timbre, spatiality (music notation and stage setting), and citational practice are identified through an analysis of Makrokosmos L These elements are contextualised both within Crumb's oeuvre (particularly, the piano literature) and within the musical and theoretical production of the post-war avant-garde, and finally, discussed with reference to Lyotard and Adomo's critique of modem thought. It is shown that, in contrast to the self-referentiality of music composition which pervades both integral serialism and experimentalism, Crumb's articulation of musical materials obeys a logic of montage resulting from the blocking of two incommensurable modes of sense, notably, musical structure (analytic unity of the work), and elements which deconstruct that structure (namely timbre, and notation). In addition to the perspective of historical musicology, the investigation discusses specific compositional elements from the point of view of perception (namely timbre) and representation (notably citation, text setting). By doing so, it is intended to show that Crumb deconstructs the totalising rationality pervading modem thought from not only an expressive but also a critical point of view.

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48

Walton, David Brian 1964. "Music for steel band: An examination of the various styles which develop specific performance skills". Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/282162.

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The steel band is one of the fastest growing ensembles in university and college settings. There are many types of steel bands and several different approaches to how the ensemble is taught, the styles of music that are taught and the reasons why those styles of music are presented. This document is directed toward instructors and students at institutions that have or intend to have a steel band as a regular rehearsing and performing ensemble. This research work will assist in understanding the styles of steel band music, the various methods by which those styles may be taught and what music performance skills will be exercised and developed by the styles and different presentations. The history of the steel band in Trinidad and the United States will be dealt with briefly. Latter portions of the document discuss the music performance skills that are exercised and developed by steel band experience, the different styles of music that a steel band rehearses and performs, the methods of music presentation possible within a steel band and the different performance skills that each type of presentation will favor. Also included are a glossary of steel band terms and a selected discography of exemplary steel band recordings.

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49

Dougherty, William Patrick. "An Examination of Semiotics in Musical Analysis: The Neapolitan Complex in Beethoven's Op.131". The Ohio State University, 1985. http://catalog.hathitrust.org/api/volumes/oclc/23645007.html.

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50

Man, Oi-kuen Ivy. "Cantonese popular song in Hong Kong in the 1970s : an examination of musical content and social context in selected case studies /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20566013.

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Tesis sobre el tema "Music – Examinations"

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