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1
Vickers, Paul. "CAITLIN : implementation of a musical program auralisation system to study the effects on debugging tasks as performed by novice Pascal programmers." Thesis, Loughborough University, 1999. https://dspace.lboro.ac.uk/2134/10560.
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In recent years, researchers have begun to focus on the communication of information using sound. This auditory display research community now has its own community and international conference (the International Conference on Auditory Display). Auditory Display embraces many interesting avenues of enquiry, one of which, program auralisation is the topic of this thesis. This thesis describes how the technique of program auralisation (the mapping of computer program data and events to sound) was applied within a musical framework and .context in the development of a musical program auralisation system called CAITLIN (the Computer Audio Interface to Locate Incorrect Nonsense). The motivation behind the construction of CAITLIN was to devise a system of auditory display that would assist novice Pascal programmers in debugging their code. Prior to this thesis, almost no experimentation had been carried out into this area. Earlier systems had been developed, but there was no empirical evidence against which to judge success or failure. Experimentation was carried out to assess the suitability of the technique as applied by CAITLIN. Novice programmers were engaged in several debugging exercises both with and without the assistance of the CAITLIN musical program auralisations. The results from the experiments have suggested circumstances in which such auditory feedback may indeed be useful. Further development and experimentation needs to be carried out to explore the potential of the technique. A set of organising principles for the use of music in program auralisation has been proposed on the basis of this research and a review of earlier work in the auditory display, music cognition, and music-theoretic fields.
2
Kochenderfer, Mary Anne. "Music after war : therapeutic music programmes in Bosnia and Herzegovina." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/1956.
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This thesis is a study of therapeutic music programmes in post-war Bosnia and Herzegovina. This study focuses on how different participant groups perceive programme aims and benefits and what these different perceptions reveal about the programmes as well as ways in which the local context impacts the programmes. Analysis is based on data gathered through interviews, observation, participant observation, and questionnaires obtained during five fieldwork visits undertaken between November 2003 and November 2004. While all participant groups agree that the programmes are beneficial, there are important differences in the ways different participant groups perceive programme benefits and the different ways in which the programmes approach sessions. Constructions of therapy appear to differ both between programmes and between international and local staff. All participant groups identified improved client communication and social skills as primary session outcomes. Clients appear to be largely unaware of the therapeutic aims of their sessions. Parents appear to have little influence and are not always notified that their children are involved with the programmes. International staff members appear to be intolerant of parents who do not heed their advice or reinforce progress made during sessions. In addition to running therapeutic sessions, these programmes work to increase inter-ethnic tolerance and to improve the skills of other local professionals. Programme success appears to be hindered by uncertainties inherent in working in a post-war environment. Developed and largely influenced by internationals, the programmes also face uncertainty as to whether they possess the necessary local leadership and ownership for long-term sustainability. There is evidence that tensions within, between, and outwith the programmes limit programme potential. Many of these tensions appear to be tied to local-international relations within programmes, which are exacerbated by national local-international tensions. A funding shortage has contributed to a competitive rather than a cooperative relationship between programmes. As the first detailed study of post-war therapeutic music programmes, this study has the potential to impact similar work in other regions and provides a more informed backdrop against which judgements can be made regarding the role and appropriateness of music as a form of therapy in post-war regions.
3
Bertilsson, Kajsa. "Elever och motivation : En studie om vad som driver elever på estetiska programmet till att spela musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79899.
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Reynisson, Haukur. "Man vs. Machine : A comparative study on MIDI programmed and recorded drums." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43782.
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Whilst drum replacement, the act of replacing the sound of a particular drum with a pre-recorded sample, has been in practice since the 1970s it is only towards the end of the first decade of the 21st century that software drum machines such as Toontrack’s Superior Drummer 2.0 and Steven Slate Drums have become an popular alternative to actual drum recordings within music production. With the increasing popularity there have been voices from the music community in protest claiming that a machine could never replace an actual drummer. What I aimed to do in this project was to do a comparative study, where I analyse and compare various aspects of both alternatives – a recorded performance with an actual drummer and a MIDI programmed performance sampled drum machine – and see whether or not a human drummer could possibly be replaceable. The results indicated that, given the circumstances and project restrictions, the differences were mostly too miniscule to have any practical value and therefore a drummer was in this scenario replaceable by a MIDI programmable drum machine.<br>Trots att “drum replacement”, att ersätta ljudet av en specifik trumma med ett förinspelat ljudklipp, har använts sedan 70-talet så är det först mot slutet av 2000-talets första decennium som mjukvarubaserade trumbibliotek, så som Toontracks Superior Drummer 2.0 och Steven Slate Drums, har blivit ett populärt alternativ för faktiska truminspelningar inom musikproduktion. I och med den ökade populäriteten har många från musikvärlden protesterat och hävdat att en maskin aldrig kan ersätta en riktig trumslagare. Tanken med det här projektet var att göra en jämförande studie där jag analyserar och jämför olika aspekter av de båda alternativen - ett inspelat framförande med en riktig trumslagare och ett framförande programmerat i MIDI med en samplingsbaserad trummaskin - för att se huruvida en mänsklig trummis skulle kunna vara ersättningsbar. Resultaten visade, med hänsyn tagen till projektets begränsningar, att skillnaderna var för små för att ha något praktiskt värde och att en trummisen i det här scenariot därför kunde ersättas med en midiprogrammerbar trummaskin.
5
Sikborn, Erixon Sanna. "Kunskapskrav och läromedel : om förutsättningarna för kvalitativt likvärdig undervisning i gitarr på estetiska programmet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1749.
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Sjöqvist, Carl. "Att välja gymnasium : en kvantitiv studie inför val till estetiska programmnet inriktning musik." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69861.
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Syftet med denna kvantitativa studie är att få veta mer om varför elever i val av gymnasieprogram väljer bort estetiska programmet musik. De samband som finns mellan betyg och gymnasieval och andra samband undersöks för att få insyn i detta område med utgångspunkt i elevernas åsikter genom enkät. I tidigare forskning är främst fokus på elevers gymnasieval, framtidsdrömmar och musikalisk identitet. Det finns också ett kapitel om musikutbildningens historia. Vidare presenteras i metodkapitlet hur enkäten formats, etiska frågor och genomförande. Studien resulterade i slutsatser om att de som var mest benägna att söka till estetiska programmet hade höga förväntningar på sitt betyg i musik. Trots detta var det ingen av de som deltog i enkäten som med säkerhet kunde svara på att de kommer söka till estetiska programmet med inriktning musik. Den pekar också på att de som var benägna att söka programmet valde bort det på grund av geografin eller viljan till annan yrkesinriktning.
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Klint, Ludvig. "Polypop : Polyrytmik i modern populärmusik." Thesis, Kungl. Musikhögskolan, Institutionen för musik- och medieproduktion, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2818.
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I detta självständiga arbete undersöks hur polyrytmik kan användas i en populärmusikalisk kontext. Syftet med den här studien är att undersöka hur polyrytmik kan användas som grund för att skapa poplåtar. I inledningen presenteras ett antal exempel på hur polyrytmik förekommer i olika genrer. Metal och Jazz tas upp som exempel på musikaliskt avancerade genrer där polyrytmik är vanligt förekommande. Vidare problematiseras hur polyrytmen 4:3 fått ett stort genomslag i populärmusiken, medan andra polyrytmer ignoreras. I metodavsnittet redogörs för hur samplingar och programmerad musik användes i arbetet för att behålla fokus på det rytmiska. Resultatet av denna studie är den klingande delen av det här arbetet som består av sex stycken/låtar av popkaraktär som var och en bygger på en unik polyrytm. Två låtar innehåller sång och text, resterande är instrumentala stycken. Reflektioner som framkommer av resultatet är bland annat hur tempon påverkar om en polyrytm upplevs som musikalisk eller inte.<br>In this study polyrhythms are examined as a way of writing pop songs. The purpose of the study is to research how polyrhythms can be used to create music productions in the context of popular music. As an introduction a few examples are given as to how polyrhythms appear in different genres of music. Metal and Jazz are both examples of musically advanced genres which are known to use polyrhythms. The Polyrhythm 4:3 is presented as the most common polyrhythm appearing in pop music, while other polyrhythms are left unused. In the Method chapter the use of sampling and music programming in this study is described, and why this was the preferred method over live musicians and acoustic recordings. The result of this study is the sounding material i.e. the pieces of music that was created as a part of this thesis. A total of six songs were written, two songs include vocals and lyrics while the remaining four are instrumental tracks. Important reflections include the aspect of tempo, and how it changes whether polyrhythms are perceived as musical or understandable, in my opinion.
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Williams, Stephanie E. (Stephanie Evangeline). "On folk music as the basis of a Jamaican primary school music programme." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63211.
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Pascoe, Beverley. "The influence of primary school music programmes on student choice of music studies in lower secondary schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1995. https://ro.ecu.edu.au/theses/1174.
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The omnipresence of music in today's adolescent society in Australia is evidenced by the fact that adolescents, almost without exception, listen to and enjoy music throughout most of their leisure time, and indeed, much of their study time. A large portion of their financial resources is spent on music and its associated promotional material. It could be said that music plays a major part in their sub-culture and their lives. According to Davey (1991, p.ll), "Music is an addiction in our culture" and "the Walkman and ghetto blaster assure access wherever and whenever we choose." The obvious fulfilment and satisfaction enjoyed by our adolescents through music is not, however, reflected in the comparatively small number of students who choose or qualify to undertake music studies at high school. A study by the U.S. Department of Education (1988) cited by Patchen (1993, p.19) indicates that, while from Kindergarten to sixth grade 80% of students participate in music, in 7th and 8th grades this falls to 48% and by grades eleven and twelve only 9% of students participate in music classes.
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Birgestrand, Jönsson Matilda. "Ska vi starta från codan? : En kvalitativ studie om gehörs- och musiklära inom enskild instrumentalundervisning." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-69624.
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I studien undersöks de inslag av gehörs- och musiklära som förekommer inom enskild instrumentalundervisning på gymnasiet. Studien baseras på videoobservationer i fyra instrumentlärares klassrum med deras respektive elever. Det är en ordinarie lektion som observerats där gehörs- och musikteoretisk kommunikation studerats. I resultatet redogörs ett förvånansvärt högt användande av gehörs- och musikteoretiska inslag i undervisningen. Lärare och elever kommunicerar med varandra genom ett gemensamt musikaliskt språk. Resultatet redogör även lärarnas förmåga att i stor utsträckning kombinera olika kommunikativa medel för att förmedla kunskap till sina elever.
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Birgestrand, Jönsson Matilda. "”Du sa inte att jag skulle kunna den.” : En kvalitativ intervjustudie om sånglärares syn på gehörs- och musiklära inom individuell undervisning vid gymnasiet." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-85741.
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I studien undersöks de inslag av gehörs-och musiklära som förekommer inom den individuella sångundervisningens planering samt lektionsinnehåll på gymnasieskolans estetiska program, inriktning musik. Resultatet visar att det inte finns någon konsensus i frågan. Respondenterna anser att musikteorin inte har ett tydligt förankrat användningsområde inom sångundervisningen på gymnasiet. Samtidigt visar resultatet att respondenterna använder teori och gehör i högre utsträckning än de själva är medvetna om. Eleverna anses vara i olika stort behov av musikteoretiska aspekter i undervisningen baserat på sina gehörsbaserade kunskaper och egna övningstekniker. Respondenterna anser att de elever som övar utanför undervisningen är i större behov av musikteoretiska hjälpmedel för att systematisera sina kunskaper. Studien visar sålunda behovet av tydlig kommunikation i musikaliska sammanhang, eftersom respondenterna är eniga om att en musikalisk gemenskap och elevernas framtida musikkarriärer kräver ett inövat musikaliskt språk. Studien baseras på semistrukturerade intervjuer med sångpedagoger och vilar på en socialkonstruktivistisk grund med diskursanalys som teoretiskt perspektiv.<br>The study is based on semi-structured interviews with vocal coaches in upper secondary level. The thesis investigates the elements of ear training and music theory that occur within the planning and performance of one-to-one tuition sessions. The view of ear training and music theoretical aspects that occur in voice coaching is contradictive. The respondents agree that the musical community and the students' possible future career as musicians require an adequate musical language. Still, some of the respondents say that music theory is not of practical use for the pupils. Even so, the result shows that the respondents use theory and ear-training to a greater extent than they are aware of.The study thus shows the need for distinct communication in musical contexts. The thesis rests on a social constructivist basis with discourse analysis as a theoretical perspective.
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Huisman, Rhonda. "Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.
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Thesis (MDram)--Stellenbosch University, 2013.<br>ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.<br>AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.
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Tolmie, Diana Maree. "My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370346.
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For the last two decades, the discourse surrounding the education of the
professional musician has increased as traditional forms of music employment become
more competitive and the portfolio career has returned as an accepted mode of working
for musicians. Criticism of the nineteenth-century conservatoire model, which in turn
has led to the recommendation to embed an employability focus within degree programs
that fosters the development of industry-prepared musicians. To date, however, there
are few successful examples of this. This study investigates the design, development
and delivery of the My Life as a Musician (MLaaM) vocational preparation strand of
undergraduate courses that assist student musicians to prepare for their likely
employment, both before and after graduation. The thesis makes an original
contribution to higher education teaching and learning by documenting the processes
involved in developing employability education within an undergraduate music
curriculum.
Data collection involved a suite of research methods based on a grounded
theoretical approach that included autoethnography, practitioner action research, focus
groups of 44 Queensland Conservatorium Griffith University (QCGU) students, and
interviews with 12 faculty plus three Australian arts leaders, three Australian higher
education leaders and three Australian music industry lecturers. Further to this,
interviews with 15 South-East Queensland portfolio career musicians informed the
design of a 75-question survey to which 261 Australian portfolio musicians responded.
The findings revealed a shrinking and territorial music industry that has been
affected by macro-environmental forces, an increased professional musician population,
a lack of respect for the portfolio careerist, and cannibalistic employment practices. The
musicians indicated that opportunities exist to provide formal and informal vocational
preparation in the form of experiential learning for the acquisition of an extensive set of
hard and soft skills that support career sustainability. However, the research revealed 11
barriers to the success of this employment education. These involved students’
romanticised career aspirations, varying degree approaches, and professional identity
development from music student to student musician. In addition, the influence of a
master-apprentice model largely subscribing to an art for art’s sake approach to career development, rather than acknowledging the realities of the changing profession, further affected students’ acceptance of formalised vocational learning.
Combined with this qualitative and quantitative inquiry, an extensive literature
review of the music industry, musician identity, career theory and educational practice
has contributed to the development of a Conservatoire Student Lifecycle Model as the
foundation of the MLaaM strand. Implications for the further development of these
courses, ethical extracurricular programme activities, curriculum restructure and the call
for industry reform are discussed. The results of this study may hold relevance for those
wishing to instigate similar vocational preparation courses within undergraduate tertiary music programmes.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>Queensland Conservatorium<br>Arts, Education and Law<br>Full Text
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Brdarski, Aleksandar. ""Estet? Tack, men nej tack!" : En fokusgruppstudie om det sjunkande söktrycket på det estetiska programmet på gymnasiet." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2703.
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Söktrycket på det estetiska programmet har sjunkit markant de senaste sex åren. Det samtidigt som förstahandssökande till alla andra högskoleförberedande program fortsätter att stiga. Tidigare forskning visar på att det finns en förförståelse kring det estetiska programmet och att det är den negativa synen hos vuxna människor som påverkar ungdomar idag att söka sig till andra program. Samtidigt som de vuxna inte riktigt är medvetna om att det estetiska programmet är högskoleförberedande. Jag har i denna uppsats valt att genomföra fokusgruppsamtal med elever från det estetiska samt tekniska programmet. Jag ville ta reda på hur dessa elever möjligtvis påverkats av vuxnas syn och tankar kring gymnasieskolan. Det framgick klart att eleverna jag intervjuade själva var medvetna om en negativ syn kring det estetiska programmet och att det upplevdes som mindre seriöst och lite lättare. Resultaten analyseras med hjälp av en normteori som baseras på tre stycken normbildande komponenter, och teorin används här som ett analytiskt verktyg. Genom dessa komponenter och tidigare forskning så försöker jag hitta förklaringar till varför ungdomar idag, i större grad, väljer att läsa annat än det estetiska programmet.
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Lundberg, Lisa. "”Man kan inte ta ut noterna för sig, då blir de meningslösa” : En studie om musiklärares funderingar och erfarenheter kring notanvändning i musikundervisning på gymnasiet." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-67303.
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Föreliggande studie syftar till att undersöka musiklärares egna erfarenheter kring notanvändning i musikundervisning och vilket syfte noterna har i deras undervisning. Syftet har undersökts genom intervjuer med fem olika lärare på gymnasiet, detta för att få reda på deras tankar och erfarenheter kring notburen undervisning. Studien är grundad i teorin fenomenografi, vilket även har använts som analysmetod. Fenomenografi syftar till att finna kvalitativt skilda sätt att förstå ett fenomen. I denna studie har teorin använts som ett sätt att finna kvalitativt skilda sätt att använda noter i undervisningen. Analysen visade tre skilda sätt; noter som stöd för gehör, notanvändning för inlärning och noter som lärandeobjekt. Vidare undersöktes även lärarnas beskrivningar kring hur de önskar sig kunna arbeta med noter men även möjligheter och problem med notburen undervisning. Lärarna beskrev många problem och inte så mycket möjligheter. Till exempel trodde flera lärare att notburen undervisning kunde göra så att eleverna tappade intresset för musikundervisningen.
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Sirch, Ramona. "Musik in der deutschen Welle, dargestellt am Beispiel des deutschen Programms/Musik /." Frankfurt am Main ; Bern ; Paris : P. Lang, 1992. http://catalogue.bnf.fr/ark:/12148/cb35539688m.
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Moodley, Dale Dhersen. "Nascent Desires: Gendered Sexualities in Life Orientation Sexuality Education Programmes and Popular Music." Thesis, Rhodes University, 2016. http://hdl.handle.net/10962/d1021260.
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Formal school-based sexuality education is one medium, amongst others, that recognises young people’s sexuality, but usually as at-risk and/or risk taking subjects, or as innocent subjects. I analyse the gendered sexualities of young people as represented in: Grade 10 Life Orientation sexuality education programmes and popular music, as two mediums of sexual socialisation in Grade 10 learners’ lives, and as engaged with by Grade 10 learners and educators. I collected data from two schools in the Eastern Cape that included: (i) sections on sexuality from two Life Orientation manuals used by educators in classrooms: ‘Oxford Successful Life Orientation’ (2011), and ‘Shuters Top Class Life Orientation’ (2011); (ii) videos and lyrics of three songs voted most popular by learners which were ‘Climax’ by Usher, ‘Beez in the Trap’ by Nicki Minaj, and ‘Where Have You Been’ by Rihanna; (iii) observations of seven sexuality education classes; and, (iv) in-depth semistructured interviews conducted with eight learners and two educators. I draw on an integrated theoretical and methodological approach – Foucauldian, feminist poststructural and psychosocial psychoanalytic perspectives – to conceptualise and analyse gendered sexualities in terms of: (i) the dominant gendered discourses found in sexuality education manuals, and music videos and lyrics; (ii) the reflexive and interactive gendered subject positions taken up and/or resisted by learners and educators during classroom lessons and one-on-one interviews; and, (iii) learners’ and educators’ conscious and unconscious investments in particular gendered subject positions during one-on-one interviews. These three sets of analysis produced four major themes. The first theme centres on responsible sexuality; young women are expected to assume more sexual responsility than young men, thus curbing their sexual agency. The second theme outlines three types of pleasure – sexual, romantic and dating and/or relationship pleasure – that accord young men and women active and passive ways of exercising pleasure. The third theme highlights the heteronormative transitioning adolescent subject that constructs young women as reproductive subjects and young men as sexual subjects. The last theme focuses on gendered power relations and raunch culture, and maintains that young men are powerful and likely to commit acts of sexual violence against young women because they are powerless. The central argument developed when viewing all the themes is that dominant gendered discourse, gendered subject positions, and conscious and unconscious investments in these positions challenge the extent to which the gendered meanings that underpin adolescent learners’ sexuality are stable and fixed. The gendered discourses in the Life Orientation sexuality education programmes showed that gender is expressed rigidly, thus privileging masculine over feminine sexuality. However, the gendered discourses in the popular music contested rigid gender binaries and produced fluid and equitable masculine and feminine sexualities. The classroom practices depicted multiple and more equatable gendered sexualities, highlighting just how contested gender is. Finally, educator and learners’ personal biographies illustrated how conflicting masculine and feminine sexualities present a signficant source of emotional conflict for them. It may benefit policymakers and stakeholders to consider informal mediums of sexual socialisation for learners, such as music, when drafting the Life Orientation sexuality education curriculum, whilst also taking into account learners and educators personal lives.
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Rabatoko, Matheanoga Fana. "San indigenous songs as cultural heritage for inclusion in Botswana music education programmes." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/65599.
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Botswana is a heterogeneous society and therefore the elements of dualism as well as cultural pluralism should be reflected in social institutions such as schools. The Naro of D’Kar are among the few minority ethnic San groups in Botswana still practicing their indigenous songs. While the government is positively continuing to implement the recommendations of the 1994 Revised National Policy on Education, this study explored Naro music, songs and dances to find possible ways in which these intangible elements of cultural heritage could be included in the music education curriculum. A qualitative ethnomusicological approach was applied in order to provide a systematic and scientific description of the contextual and cultural aspects of Naro music practices. Participants were purposively selected as indigenous culture bearers, including both adults and children. Focus groups as well as semi-structured individual interviews contributed to rich data gathering. Moreover, an extended period of field work allowed opportunities to observe various groups of Naro participating in music, song and dance activities, leading to an in-depth perspective of the research problem. All interviews and observations were audio- or video-recorded. An interpretative data analysis strategy was employed to identify themes. Findings reveal the rich cultural heritage of the Naro of D’Kar and how this is entrenched in their indigenous songs and dances. The purpose of Naro songs are closely linked to spiritual and physical healing rituals. Data analysis unveiled four broad categories in which Naro songs and dances may be classified namely songs for worship; songs for initiation; songs for social commentary; and lastly a broad category of songs for thanksgiving, recreation, hunting and children’s playsongs. The documenting, transcribing and audio/video-recording of Naro songs as performed in their original context and setting, add valuable resources which music teachers can use to facilitate inclusion of Naro music in the Botswana curriculum. This may lead to a paradigm shift in policy development whereby principles of Multicultural Music Education (MME) are embraced. Learners are envisaged to acquire knowledge and understanding of a broader society as well as an appreciation of their own cultural heritage including language, traditions, songs, ceremonies, customs, social norms and a sense of citizenship.<br>Dissertation (MMus)--University of Pretoria, 2017.<br>Music<br>MMus<br>Unrestricted
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Wallbaum, Christopher. "‚Schoolmusic‘ in Europa – ein Bericht und eine Typologie." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2010. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-62656.
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Der vorliegende Text verbindet drei Dinge: einen V e r g l e i c h von Bildungsgängen für Musiklehrer an allgemein bildenden Schulen in Europa, den B e r i c h t von einem viel versprechenden „Intensive Programme" mit dem Titel „Schoolmusic in a European Perspective" und den E n t w u r f einer Musiklehrer-Typologie, die den Vergleich verschiedener europäischer Situationen von ‚Schoolmusic‘ erleichtern soll und die über den bloßen Vergleich von Curricula hinaus geht<br>The article combines three things: A c o m p a r i s o n of policies of European teacher-education for music at general schools, a r e p o r t about a successful intensive programme for six countries called “Schoolmusic in a European Perspective” and the d r a f t of a typology of music-teachers, which condenses more aspects than a policie of music-teacher-education only. The typologie should help to compare the situation of schoolmusic in different countries of Europe
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Pretorius, Jacomine. "A critical evaluation of assessment practices in music literacy programmes for young adults / Jacomine Pretorius." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1403.
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Josteus, Petter. "Varför väljer elever det estetiska programmets musikinriktning? : En studie över musikestetelevers tankar kring sitt gymnasieval." Thesis, Karlstads universitet, Institutionen för pedagogiska studier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-28674.
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Karlsson, Robert. "Antagningsprov och bedömning : En undersökning av antagningsprovet i trummor vid gymnasiets estetiska program." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4109.
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Uppsatsen har fokus på färdighetsprovet vid gymnasiets estetiska program, inriktning trummor. Undersökningen ämnar synliggöra de innehållsmässiga moment som återfinns i en provspelning, samt hur slagverkslärare, tillika jurymedlemmar, bedömer och ser på de sökande och det som framförs. Lärare, och framtida lärare ges en inblick i sökningsförfarandets sammanhang, innehåll och miljö. Framtida sökande kan även de ta del av uppsatsen, för att lättare kunna prioritera rätt saker och förhoppningsvis känna sig säkrare inför en stundande provspelning. I innehållet återfinns tips på hur man som sökande kan behöva förbereda sig inför en sökning, samt vilka val man eventuellt kan behöva göra. De konkreta tipsen återfinns i bilaga 2. Studien genomfördes genom en intervju i fokusgrupp med tre stycken trumlärare inom gymnasiets estetiska program. Denna intervju hade till stor del formen av en diskussion och spelades in för att senare återges i skrift och därefter analyseras. Resultatet visar att färdighetsprovet i trummor till viss del ser olika ut på de olika skolorna. Innehållet varierar något, likaså tiden för provet, samt vilken metod och strategi man använder för poängsättning. Resonemanget kring kunskap och utvecklingsmöjligheter har däremot många gemensamma nämnare, och en helhetssyn vid poängsättning brukas av informanterna på alla tre skolor. De sökande kan dock få olika poäng beroende på vilken skola de gör färdighetsprov på, då olika strategier för poängsättning brukas. Skolans inriktning och bedömningskriterier styr till viss del vad man som lärare och jurymedlem bedömer och ser som viktigt, men varje jurymedlems bakgrund, erfarenhet och ideal har en betydande roll i processen. Som sökande kan det vara bra att fundera på vad man vill med musiken och sedan söka sig till den skola som speglar ens mål och inriktning bäst.Undersökningen berör ämnen som färdighetsprovets innehåll och juryns sammansättning, bidrar med insikter gällande tillvägagångssätt, samt visar på tankar och problematik kring bedömning. Lärare som söker stöd för sina argument, önskar sätta ihop, eller utveckla ett färdighetsprov kan med fördel ta del av detta arbete.
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Sleith, Jeremy Douglas. "Access for all? : case studies of how a local authority music service developed a wider opportunities music programme." Thesis, Manchester Metropolitan University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.515191.
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This study into the wider opportunities pledge for instrumental music making has been conducted over a six-year period within one North West Instrumental Music Service (lMS). The aims of the study were primarily twofold, to look at large-scale pupil access to music service instrumental lessons and to consider how a music service could be used to enrich the school music curriculum. These two strands were investigated through a number of developed activities formed into a series of case studies; three of which are detailed within this thesis. One of these focused on methods of pupil curricular enrichment through themed and informative concerts given to whole school communities. The other two investigated methods of offering greater access to instrumental lessons to whole classes of children. A philosophical rationale was developed and presented as a possible model through which to support and justify these activities. The outcomes and conclusions from these cases in conjunction with the philosophical rationale offer insights into issues of teacher identity, staff training, organisation of instrumental services, as well as models for future practice and pedagogy. In this thesis I explore a series of methodological tools and how they have aided the collection of data, its analysis and the resulting understanding I have gained. I describe how an overarching Action Research methodology is used to frame and develop a series of related case studies, policy analysis and philosophical debate through a cyclical pattern of identification, implementation and evaluation of practice (Elliott 1991). Data is viewed through the socio-culturallearning theories of Wenger (1998) and Lave and Wenger (1991) by seeing the class ensemble, the school, and the IMS as inter-related communities of practice. By charting my understanding of aestheticism and praxialism I have been able to ofTer a definition of the function of music and music education as well as a useable (in the context of this thesis) philosophical rationale. The conclusions I draw inform and guide some of the issues I have encountered during this study. This element of the thesis lays bare some of my own theoretical experiences and interpretations on its course towards an understanding of how this educational phenomenon can be explained and supported through theory. The main research findings are drawn together from the conclusions made in a number of chapters. National Education policy and legislation is viewed through its interpretation and implementation at the local level. These external forces have created a unique service structure and modes of operation that shape the manner of engagement with children. Outcomes of case studies are used to forward understanding by offering insights that illuminate how organisations can model learning communities that demonstrate musical life, pleasure and understanding with large groups of children. The design of these cases encouraged a refinement of teaching approaches and the development of musical identities in both pupils and teachers alike. The thesis concludes by charting my personal development through this course of study. It comments retrospectively on my learning and the growth of understanding for scholarly enquiry, musical and educational knowledge. It also makes suggestions as to which avenues of further investigation this study could possibly lead to for others or myself.
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Bower, Bruno Benjamin. "The Crystal Palace Saturday Concerts, 1865-1879 : a case study of the nineteenth-century programme note." Thesis, Royal College of Music, 2016. http://researchonline.rcm.ac.uk/386/.
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In recent decades, historical concert programmes have emerged as a fascinating resource for cultural study. As yet, however, little detailed work has been done on the programme notes that these booklets contained. This thesis concentrates on the notes written for the Crystal Palace Saturday Concerts between 1865 and 1879. The series held an important place in London concert life during this period, and featured a number of influential authors in the programmes, such as George Grove, August Manns, James William Davison, Edward Dannreuther, and Ebenezer Prout. Grove in particular made use of his notes as part of entries in the first edition of the Dictionary of Music and Musicians. Close critical readings of the Saturday Concert booklets illustrate the complex combination of context, content, and function that the programme notes represented. These readings are supported by short histories of the series, the programme note, and the various authors, along with a study of the audience through booklet construction and advertising. A database covering the repertoire performed and programme note provision during the case-study period is included on the attached CD. Programme notes that outlined pre-existing or newly-invented plots make it clear that one of their functions was to give music a narrative. Even notes that did not contain stories per se were filled with material that served a very similar purpose. The most obvious examples were explanations of how the work was created, and it's place in history. However, all of the language used to describe a piece could signal wider meanings, which then became part of the story being told. References to gender, families, education, morality, religion, politics, or race imbued the works with a wide variety of pre-existing 'texts' (in the broadest sense of the word), and formed social and cultural narratives for music.
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Lesch, Felicia Sharron Margaret. "The Certificate Programme in Music : a means of broadening access to higher music education studies at the University of Stellenbosch." Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4104.
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Thesis (MMus (Music))--University of Stellenbosch, 2010.<br>ENGLISH ABSTRACT:
The Department of Music at Stellenbosch University (SU) established the Certificate Programme in Music (CP) in 1999. The programme was created to fulfil a multi-faceted role that would equip potential students who display a high level of musicality, but do not fulfil admission requirements to music studies at Higher Education level.
Initially, the programme was targeted at previously disadvantaged individuals who had had no opportunity to receive formal music tuition. Thereafter, the balance shifted to include all students with diverse cultural backgrounds but with no or insufficient prior musical tuition. Problems experienced by universities globally include growing numbers of students displaying lower levels of academic literacy and the number of potential music students who have not reached the standard required on their instruments or in music theory. Changes to programme content were made as courses were adapted; an example is the Higher Certificate in Music which will soon be a university-accredited qualification. A preparatory course in Music Technology was created for musicians already involved in the music industry, wanting to upgrade their skills or prepare themselves for admission to the BA with Music (Route: Technology) degree.
The objective of this research endeavour was to launch an in-depth investigation into all aspects of the CP. The grounded theory approach of Strauss and Corbin (1990) formed the foundation to the study. Data consisted of records from the CP, interviews and questionnaires. The research design was based on the conditional matrix of Strauss and Corbin (1990).
CP data was compared to national policies governing Higher Education, to SU policies regarding community interaction, and to SU's strategic framework. Categories for
investigation included concepts such as motivation, self-regulation, service learning and the development of emotional intelligence in students. Change theories were explored as a theoretical framework for the CP to cope with the ever-changing landscape of high school education.
Establishing partnerships which are mutually beneficial to the community and the university is listed as an important component of the community interaction policy at SU, and was found to be a significant component of the CP.<br>AFRIKAANSE OPSOMMING:
Die Departement Musiek by die Universiteit van Stellenbosch (US) het die Sertifikaatprogram in Musiek (SP) in 1999 gevestig. Die program is ontwerp om 'n uiteenlopende rol te vervul vir voornemende musiekstudente wie musiektalent toon, maar wie nie aan die nodige toegangsvereistes voldoen om musiekstudie op Hoër Opvoedkundige vlak te neem nie.
Aanvanklik was die program gemik op voorheenbenadeelde persone wat nie die geleentheid gehad het om formele opleiding in musiek te ontvang nie. Daarna het die behoefte verskuif deur studente uit verskeie kulturele agtergronde, wie nie vorige musiekopleiding gehad het nie, in te neem. Wêreldwyd ervaar universiteite onder andere probleme met studente wat toenemend laer vlakke van akademiese geletterdheid toon, asook met die groeiende getal studente wat nie die nodige vlak in prakties sowel as musiekteorie bereik nie. Veranderinge is aangebring in die program en kursusinhoude is gewysig om verdere opleidingsmoontlikhede te bewerkstellig; die Hoërsertifikaat in Musiek is een voorbeeld – dit sal binnekort 'n universiteits-geakkrediteerde kwalifikasie wees. 'n Voorbereidende kursus in Musiektegnologie is spesiaal geskep vir kandidate wat reeds in die musiekbedryf is, of wat voorbereiding vir toelating tot die graadkursus BA met Musiek (rigting: Tegnologie) nodig het.
Die doelwit van hierdie navorsing is om ʼn deeglike ondersoek in alle aspekte van die SP na te gaan. Strauss en Corbin (1990) se gegronde teorie was die uitgangspunt vir hierdie ondersoek. Die data bestaan uit aantekeninge van die SP, onderhoude en vraelyste. Die navorsingsontwerp is gebaseer op die voorwaardelike matriks van Strauss en Corbin (1990).
Die SP se data is vergelykbaar met die regering se nasionale beleid met betrekking tot Hoër Onderwys, sowel as die US beleide sover dit betrekking het op die gemeenskapsinteraksie en die strategiese raamwerk van US. Kategorieë wat ondersoek is, sluit onder andere konsepte soos motivering, selfgereguleerde, diensleer en die ontwikkeling van emosionele intelligensie in.
Die vestiging van vennootskappe met wedersydse voordeel vir beide die universiteit en die gemeenskap is aangewys as 'n belangrike komponent van die gemeenskapsinteraksie beleid by US. By hierdie ondersoek is vasgestel dat dit ʼn groot komponent van die SP is.
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Lorensson, Jarl. "Takt och ton - Musik för livet." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-36512.
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Detta arbete handlar om Rädda Barnens Musikprojekt, ett ettårigt individuellt gymnasieprogram, där elever som misslyckats i grundskolan får chansen att spela in en CD-skiva samtidigt som de kan läsa upp sina betyg. I en tidigare C-uppsats har fyra elevers berättelser åskådliggjort hur ett år på Musikprojektet fått deras självkänsla att växa, förändrat deras inställning till vuxna och skapat en framtidstro hos dem.Syftet med följande arbete är att försöka svara på frågan hur lärarna har arbetat för att eleverna ska få de ovan skildrade erfarenheterna av ett år på Musikprojektet? Hur går det rent konkreta arbetet med skivan till? Vilka andra pedagogiska mål är knutna till de olika faserna i inspelningsprocessen?Svaret på frågorna har fåtts genom två metoder: dels genom intervjuer med lärarna, dels genom observation av en dokumentärfilm inspelad under ett år på skolan. Dokumentärfilmen fokuserar på eleverna, vilket gett mig en möjlighet till jämförelse mellan lärarnas intervjusvar och elevernas agerande i dokumentärfilmen.Resultatet skildrar rent konkret hur lärarna genom att ge eleverna ett tryggt ramverk, lotsar eleverna genom ett år då en CD-skiva blir inspelad. Resultatet visar också hur varje fas i inspelningsprocessen har bestämda syften: att öka självkänslan, stärka gruppgemenskapen eller premiera det individuella initiativet. Lärarnas svar på frågeställningarna och observationen av dokumentärfilmen ger en bild av att både lärare och elever betonar behovet av att bygga upp en strävan efter ett gemensamt mål, där var och en ingår i ett meningsfullt sammanhang.
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Österling-Brunström, Johanna. "Musik i rörelse : Fyra lärares uppfattning om och användande av rörelse vid lärande av musik på estetiska programmet, inriktning musik." Thesis, Örebro University, School of Music, Theatre and Art, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-10332.
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<p>The purpose of this study is to shed light on how teachers on the upper secondary Arts with Music programme use movement in their teaching of music, and how they approach movement as an educational tool, by investigating the following three issues:</p><p>1. What significance does movement have for teachers on the Arts with Music programme?</p><p>2. How do teachers on the Arts with Music programme regard movement as an educational tool in the teaching of music?</p><p>3. How do teachers on the Arts with Music programme use movement as educational tool?</p><p>The methodology used is a combination of focus group interviews and observations. The aim was to connect data collected from focus groups interview with observations in order to look into how things were said by the teachers seemed to be employed in their practice.</p><p>The values of different cultures and ages and their significance for our choice of methods as teachers, and our view of music and the consequences it has for our role in the learning process are the key areas of this study. I selected to dispose the content in informal and formal learning (Davidsson & Correia, 2002, Lilliestam, 2006), absolute and realtivistic views of musicality (Brändström, 1997), high and low (Klingfors, 2003), nature and culture (Ehn & Löfgren, 1982), male and female (Bouij, 1998, O´Neill 1997; Lenz Taguchi, 2003), mind and body (Gustavsson, 2000; Davidsson & Correia, 2002).</p><p>The informants maintain that movement could have performance purposes, physical purposes and educational purposes, as a tool in the teaching of music.</p><p>What I consider the most salient aspect of my study is that although the informants consider movement as important in both teaching and artistic contexts, they did not use it to any significant extent as a teaching aid.</p>
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Theron, Talita. "Music therapy in South Africa music therapists' perceptions of training needs for current practice /." Diss., Pretoria : [s.n.], 2006. http://upetd.up.ac.za/thesis/available/etd-09182008-114636/.
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Choquet, Anastasia. "Le métier de programmateur musical à Radio France : analyse d’un groupe professionnel d’intermédiaires culturels de service public à l’ère du numérique." Electronic Thesis or Diss., Université Paris-Panthéon-Assas, 2023. http://www.theses.fr/2023ASSA0075.
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Dans un contexte de crise de la prescription culturelle, cette thèse propose l'analyse d'un groupe professionnel d'intermédiaires culturels de service public, les programmateurs musicaux de Radio France. Face à la perte d'audience des radios musicales, à la concurrence des plateformes de streaming et à l'introduction de technologies numériques dans les pratiques professionnelles de programmation musicale à Radio France, comment évoluent les frontières d'un groupe professionnel de service public ? Soumis à des missions de service public qui leur donne un rôle a priori singulier dans l'espace radiophonique – et plus largement dans l'espace culturel – l'étude des pratiques professionnelles des programmateurs musicaux de Radio France constitue un terrain de recherche fertile pour comprendre les mutations de la prescription musicale ainsi que les enjeux contemporains du service public radiophonique. Dans une perspective interactionniste et avec une approche méthodologique inductive et compréhensive, ce travail est fondé sur une ana-lyse des « récits de pratiques » des programmateurs musicaux livrés en entretien, mais également sur des entretiens réalisés avec d'autres groupes professionnels impliqués dans la programmation musicale de Radio France. Réalisés entre 2016 et le début de l'année 2020, ces entretiens sont complétés par l'analyse d'un corpus de documents officiels contemporains<br>Against a backdrop of crisis in cultural prescription, this thesis analyzes a professional group of public service cultural intermediaries, the music programmers at Radio France. Faced with the loss of audience for music radio stations, competition from streaming platforms and the introduction of digital technologies into the professional practices of music programming at Radio France, how are the boundaries of a public service professional group evolving ? Subjected to public service missions that give them an a priori singular role in the radio space - and more broadly in the cultural space - the study of the professional practices of Radio France's music programmers constitutes a fertile field of research for understanding the mutations of music prescription as well as the contemporary stakes of public service radio. From an interactionist perspective and with an inductive and comprehensive methodological approach, this work is based on an analysis of the "narratives of practice" of music programmers delivered in interviews, but also on interviews conducted with other professional groups involved in music programming at Radio France. Conducted between 2016 and the beginning of 2020, these interviews are complemented by the analysis of a corpus of contemporary official documents
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Stevenson-Milln, Carolyn. "Researching the development of a programme that merges mathematics and music in Grade R." Thesis, Rhodes University, 2018. http://hdl.handle.net/10962/61928.
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This small-scale case study explores the potential for synergy between music and mathematics learning in early childhood education whereby music can be used to help enhance children’s mathematical proficiency. Informal observations of the young learners participating in an Early Number Fun programme initiated by the South African Numeracy Chair Project suggested that many children struggled to exercise executive functioning and self-regulated skills, and struggled also with fluency in basic numeracy concepts such as understanding pattern. This case study was set up to investigate the effect of the development and implementation of a programme in which African music and mathematics learning, (particularly in relation to pattern and sequencing) were blended. The study’s core aim was to contribute to strengthening learners’ executive function and self-regulated learning competencies, both of which are important to learners’ developing agency over their own learning. An Action-Research-embedded-in-Design-Research approach was employed. This allowed an iterative process in developing a new mode of learning through blending music and mathematics. The theory of enactivism provided a theoretical framework to the study. The basic assumptions of an enactive perspective are shared understanding and joint action through engagement (as exemplified through group interaction between learner and teacher, and learning through action). The programme was developed and implemented with ongoing refinements in two Grade R classrooms. Data collected through observation, interviewing, document analysis and the keeping of a reflective research journal, are qualitative in nature. Analysis of the data indicate that the use of African block notation, as a rhythmic medium was well within reach of the participating children, such that at the end of each 16 session intervention programme, learners at both research sites demonstrated their capacity to: • Focus their attention on one activity while a different activity was taking place alongside them. • Watch, listen and only then act. • Practise their numbers through play: to count out and to write up to 16 and beyond. • Notate, read and interpret rhythmic patterns through block notation and instrumentation. The findings suggest the intervention programme could be continued over a longer period for maximum benefit, possibly through following Grade R learners through to Grade 1. The findings further suggest that fun with rhythmic, number-based patterning can assist learners’ development of executive function and self-regulated learning skills.
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Engström, Joel. "Upplevelsemetodik : Om externa live-upplevelser som pedagogiskt verktyg i estetisk gymnasieutbildning." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3334.
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Syftet med denna studie var att undersöka förutsättningar för, och effekter av, synergier i en gymnasial utbildning inom musik och teater där live-upplevelser är ett pedagogiskt inslag. Studien genomfördes via enkätundersökningar och en gruppintervju för att fånga både elev- och lärarperspektiv. Urvalsgruppen var besökare till den nyskrivna musikdramatiska föreställningen Om Människan som spelades i två etapper på två orter av olika storlek. Resultatet visade att live-besöket kan utgöra och främja flera av skolverkets examensmål och kunskapskrav i enskilda kurser samt utveckla elevens konstnärskap och vidga elevens syn på det givna konstnärliga mediet. I studien kan även konstateras att det från kulturinstitutioner och regering finns en önskan om att nå ut till barn och unga, samt att det hos urvalsgruppen finns behov för, och önskan om, live-besök i utbildningen. Studiens resultat kan öppna upp för vidare forskning kring estetiska gymnasieutbildningars integration i det samhälleliga kulturlivet.
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Viljoen, Linda-Mari. "Die bevordering van sosiaal-emosionele ontwikkeling by die graad 1-leerder deur middel van 'n musiekondersteuningsprogram / Linda-Mari Viljoen." Thesis, North-West University, 2007. http://hdl.handle.net/10394/1651.
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Rademan, Carika. "Evaluating the efficacy of training programmes for secondary school music teachers at higher education institutions in the province of the Eastern Cape." Thesis, Nelson Mandela Metropolitan University, 2012. http://hdl.handle.net/10948/d1019925.
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Frequent changes in the school music curriculums in South Africa necessitated changes in teaching music in schools. Music teachers in secondary schools who are responsible for teaching music as a subject have been confronted with the challenges presented in such a changing educational climate and often found that their pre-service teacher training did not sufficiently prepare them for changing syllabi. The quality of teaching in schools is directly linked to the quality of teacher training at universities and when institutional policies prohibits pre-service teachers from qualifying themselves sufficiently for their in-service careers, frustration and disillusionment sets in. This study explores the perceptions of music teachers of the effectiveness of their pre-service training. It also explores the content of university music degree courses and whether it is in line with school music curricula. The study addressed the research questions through the use of questionnaires and interviews. The finding suggested that there is a need for teacher training courses to be adapted and contextualised so that there is continuum between university and school curriculums. This research also exposed the policies barring music graduates from fully qualifying themselves as teachers and raised important issues that music teacher educators need to address in order to ensure that music graduates are adequately prepared for classroom music teaching.
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Jennersjö, Ann, and Karin Hummerdal. "Det är svårt att vara den man vill vara : En studie om identitet och lärande utifrån Tv-programmet Idol." Thesis, Örebro University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-1777.
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<p>Syftet med denna uppsats är att undersöka hur två Idoldeltagare och två sånglärare upplever TV-programmet Idol utifrån ett lärandeperspektiv, vilket innefattar frågor kring sång, identitet och socialisation. I uppsatsen presenteras vårt resultat från fyra intervjuer, samt litteratur kring musik och musikliv, musik och media samt musik och identitet.</p><p>Litteraturen beskriver att lärande inte nödvändigtvis behöver skapas i skolan utan också kan ske på andra platser.</p><p>Studien visar att deltagarna i Idol upplever att de har lärt sig mycket. De anser att de har fått musicera tillsammans med andra, träffa människor inom musikbranschen, arbeta med sångpedagoger, samt lära sig hur TV.</p><p>Också sånglärarna anser att deltagarna i Idol lär sig och att programmet är ett bra tillfälle för dem som vill synas och ”komma fram”. De påpekar däremot att lärandet handlar för lite om musiken och mer om branschen och TV. Exempelvis säger en av intervjupersonerna att sången blir ”framkrystat” och oäkta på grund av att Idoldeltagarna tvingas ”leverera” enbart för TV.</p><p>Vid analysen av studien lyfts Idols koppling till ett informellt lärande fram. Media tar allt mer plats i dagens samhälle och är en stor del av ungdomars identitetsbygge. Här märks skillnader mellan sånglärarna och Idoldeltagarna i hur de uppfattar att man lär sig, var man lär sig och vad lärande är bra för. I olika situationer, som i musiksalen möts olika erfarenheter från olika former av lärande.</p>
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Longo, Olivia. "Klassiska toner i unga öron - Klassisk musik i ämnet Kulturhistoria på estetiska programmet." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-35110.
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I denna rapport argumenterar jag för ett ökat engagemang för klassisk musik inom ämnet kulturhistoria, på gymnasiets estetiska program.Den klassiska musiken för med sig många goda effekter på ungdomar: den stimulerar deras kreativitet, förhöjer koncentrationsförmågan, berikar känslolivet och hjälper eleverna att slappna av. Jag presenterar i rapporten resultatet av undersökningar på ungdomar i åldern 15-19 och deras konsumtion av klassisk musik. Statistiken visar mycket låga siffror. Vidare kartlägger jag utbud av klassisk musik i Malmö kommun och slutligen redogör jag för de svar jag fått när jag intervjuat lärare i musikhistoria och deras uppfattning om ungdomars attityder gentemot klassisk musik, deras undervisningsmetoder och ambitioner i ämnet. Intervjuerna har lett fram till en rad pedagogiska metoder som kan tjäna både till att förbättra min undervisning och inspirera andra lärare. Malmö kommun erbjuder en bred repertoar av konserter med klassisk musik, opera och pedagogisk verksamhet knuten till föreställningarna. Gymnasieungdomar är tyvärr en målgrupp som sällan besöker dessa arrangemang på skoltid. Trots det generösa utbudet är detta inte självklart ett komplement till skolans undervisning i musikhistoria. Det finns ett gap mellan den klassiska offentliga musiken och skolans värld. I mitt resonemang kommer jag fram till att en grundläggande förutsättning för att väcka intresse för klassisk musik hos gymnasieungdomar är att undervisningen i klassisk musik sätts i ett större sammanhang. En annan viktig punkt är elevernas självbild. De är mycket beroende av identifikationsobjekt i sin tillvaro. Trots de kopplingar man kan göra mellan den klassiska musiken och populärkulturen, kan man konstatera att problemet med den är att den – både i skolan och i samhället – lever isolerad, frikopplad från ett naturligt sammanhang och uppfattas därför som ”finkultur”. I Sverige har den klassiska musiken aldrig blivit allmängods. Kunskap om klassisk musik är viktig då musiken utgör en del av vårt europeiska kulturarv. Jag vill väcka en debatt om undervisningen av klassisk musik i ämnet Kulturhistoria och hoppas att ämnet generellt sett får en starkare ställning i skolan.
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Nell, Dirkie Cornelia. "The experience of first-year BMus music students of a movable do-tonic solmisation programme / Dirkie Nell." Thesis, North-West University, 2009. http://hdl.handle.net/10394/2899.
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Sight-singing is one of the indispensable elements of musicianship. Pre-university students at the North-West University start the BMus ear-training course with insufficient sight-singing skills. This is because of inadequate sight-singing training on primary and secondary school levels. However, sight-singing skills can be effectively remediated by the use of the movable do-tonic solmisation programme.
In this study the impact of a movable do-tonic solmisation programme on the experiences and the improvement of the sight-singing abilities of first-year BMus ear-training students at the School of Music of the North-West University was documented. Perceptions and experiences of first-year music students were noted and a model that described the interaction between values, attitudes, motivation, performance and experiences for the study is postulated. The main research methodology of the study was action and empirical research. Questionnaires, interviews, observations and assessment data were used. The need to improve sight-singing on secondary school level is pointed out as well as the benefits of the use of a movable do-tonic solmisation programme.<br>Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2009..
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Shin, Minna Re 1969. "New bottles for new wine : Liszt's compositional procedures (harmony, form, and programme in selected piano works from the Weimar period, 1848-1861)." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36791.
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The dissertation examines Liszt's experimentation with harmonic, formal, and programmatic procedures in the piano works of his Weimar period (1848--1861). Liszt's music has often been criticized as "new wine in old bottles." His radical development of keyboard technique and harmonic vocabulary appears contained within, and constrained by, traditional forms. Here, however, it is argued that Liszt's "form" and "content" go hand in hand. A change in one compositional element (e.g., harmonic vocabulary) leads to changes in other elements (e.g., formal and tonal design), so that a kind of compositional "chain reaction" occurs.<br>Chapter one (introduction) establishes the plan of study and describes three organizational strategies ("conflict," "block," and "object") found in the selected works. Chapter two investigates the Etudes d'execution transcendante and focuses on harmonic innovations at the thematic level. In comparing different versions of the Etudes, the chapter shows how the composer's virtuoso keyboard idiom interacts with harmonic content and how surface harmonic procedures function as structural determinants. Chapter three concentrates on the smaller sets of "poetic" piano works. These include the Consolations , the Liebestraume, and the two Ballades as well as selections from the larger cyclical collections, the Annees de pelerinage and the Harmonies poetiques et religieuses. The analytical focus is on Liszt's manipulations of phrase- and section-level formal functions. The works display strophic and through-compositional tendencies that mirror developments in nineteenth-century lieder, and formal ambiguities that arise from the hybridization of traditional instrumental formal types.<br>Chapter four focuses exclusively on the B-minor Sonata. The composition, perhaps Liszt's most successful and complex work, engages us in a synthetic approach to harmony, form, and programme. The motivic and formal design of the Sonata may be accounted for in programmatic terms. Compositional similarities between the Sonata and the Faust Symphony suggest their shared programmatic subtext. The extensively developed "love interest" in Goethe's Faust invokes issues of gender and sexuality. The programme-related construction of gender as well as the arousal and channeling of desire can be connected with the Sonata's formal and tonal organization. Emphasizing the use of five motives and their various transformations, it is shown how Liszt portrays, through musical means, the three principal characters---Faust, Marguerite, and Mephistopheles---and how the work embodies a variety of narratological and interpretive paradigmsheroic, feminist, and psychological.
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Macauslan, John. "Schumann's music and Hoffmann's fictions." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/schumanns-music-and-hoffmanns-fictions(6204c093-4ed6-44c9-b992-08c19f3060e9).html.
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This thesis interprets four of Schumann’s works in the light of the Hoffmann fictions with which they seem to be associated. Unlike previous studies, it deals with each of the four works, treating them as aesthetic entities enhanced by literary relationships that are not primarily programmatic, nor primarily a matter of formal parallels. Each work emerges both in a new light and as it always was. Carnaval (1834-37) appears as a dizzying comedy of theatrical vignettes and character, in the spirit of the German literary understanding of Italian carnival (including in Hoffmann), and Fantasiestücke (1837-38) as a humorous sequence of dream images, resonating with literary tales of the artist’s development, not least those in Hoffmann’s Fantasiestücke. Kreisleriana (1838), a finished masterpiece, suggests improvisations on melodic fragments appearing also in popular tunes used both in trivial variation sets and in Bach’s Goldberg Variations – which figure in Hoffmann’s Kreisleriana as opposed emblems of the philistine and the profound. Nachtstücke (1839-40) creates from plain rondos a paradoxically unsettled set, expressive of profound mental disturbances explored by Hoffmann’s book of that name. I bring out in each work previously unexamined patterns of melody, tonality, metre, sonority and form, showing how these become threads expressive of drama, emotion or symbolism. Unusually, I do not take Schumann’s approach over the 1830s as static: increasingly powerful musical means gave the music greater independence from supporting words, and what Schumann called ‘poetic’ threads increasingly coincide with core musical processes. Equally unusually, I describe those processes as resonating simultaneously with Schumann’s titles, with his culture including Hoffmann, and with his concerns around the time of composition as documented in his letters, criticism, diaries and Mottosammlung. Unlike previous work the thesis treats its subject consistently at three levels. My approach to the interpretation of the individual works at the first level is consonant with Schumann’s aesthetics as described at the second: there I focus more sharply than previous treatments on his stated view that musical works can ‘express’ ‘remote interests’ including literature, and on how he thought that possible – points that, given sensitivity to contemporary connotations and to context, emerge from his writings. Finally, at a third level, I reflect on the approach in the light of strands of musicological and intellectual thought in Schumann’s day and since.
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Michels, Patricia E. "Developing the pre-school child's musical intelligence by means of a comprehensive music programme focused on age-controlled auditive development." Pretoria : [s.n.], 1996. http://upetd.up.ac.za/thesis/available/etd-07262002-151835.
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Lacchè, Mara. "Prometeo, fra mito e musica." Paris 4, 2004. http://www.theses.fr/2004PA040035.
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G. Bachelard considérait Prométhée comme une " figure paradoxale ", ayant " valeur emblématique, mais qui se disperse en images multiples " (Fragments de la poétique du feu). Après des siècles d'interprétations allégoriques, Prométhée, grâce au génie goethéen, entre triomphalement dans l'art au tournant du XVIIIe siècle, pénétrant aux profondeurs de l'imaginaire collectif à l'époque moderne. A coté des innombrables versions littéraires recensées de l'Antiquité à nos jours, il existe également de nombreuses "traductions musicales" que nous répertorions dans notre catalogue. A travers une étude synthétique des thématiques qui émanent du mythe aux XIXe et XXe siècles, vu dans ses versions musicales (Beethoven, Alkan, Liszt, Nono, Skrjabin, Reichardt, Schubert, Wolf, Parry, Fauré, Emmanuel, Orff, Couroupos, Theodorakis) et théâtrales (Wilson), ainsi que dans ses relations complexes avec la philosophie, la poésie, les arts plastiques, la dramaturgie et la danse, nous avons cherché à dégager les lignes évolutives de la figure prométhéenne à l'intérieur de l'imaginaire créatif musical des artistes, considérés dans la Weltanschauung de leur nation et de leur époque, afin de déceler l'essence musicale profonde propre au mythe prométhéen<br>G. Bachelard considerava Prometeo come una " figura paradossale ", di " valore emblematico, ma che si disperde in immagini multiple " (Fragments de la poétique du feu). Dopo secoli di interpretazioni allegoriche, alla fine del XVIII secolo, grazie al genio goethiano Prometeo è entrato trionfalmente nell'arte e alle profondità dell'immaginario collettivo moderno. Accanto alle innumerevoli versioni letterarie recensite dall'antichità ai nostri giorni, esistono anche numerose "traduzioni musicali", repertoriate nel nostro catalogo. Attraverso uno studio sintetico delle tematiche che scaturiscono dal mito nel XIX e XX secolo, considerato in queste sue versioni musicali (Beethoven, Alkan, Liszt, Nono, Skrjabin, Reichardt, Schubert, Wolf, Parry, Fauré, Emmanuel, Orff, Couroupos, Theodorakis) e teatrali (Wilson), ma anche nelle sue relazioni complesse con la filosofia, l'estetica, la poesia, le arti figurative, la drammaturgia e la danza, abbiamo cercato di cogliere le linee evolutive della figura prometeica nell'immaginario musicale degli artisti, considerati nella Weltanschauung della loro nazione e della loro epoca, alfine di svelare l'essenza musicale profonda propria al mito prometeico<br>G. Bachelard considered Prometheus as a " paradoxical figure " with an "emblematic value but which also scatters into multiple images " (Fragments of the fire poetics). After many centuries of allegorical interpretations, the Promethean myth, with Goethe's genius's help, came triumphantly into the art at the turning point of the XVIIIth century fathoming the recesses of collective imaginary at the modern era. In addition to numerous literary versions listed from the ancient Greek civilization to our time, there are also many "musical translations" which we present in a subject catalogue. We carried out a recapitulating study of themes derived from the myth seen on one hand through its XIXth and XXth centuries musical ( Beethoven, Alkan, Liszt, Nono, Skrjabin, Reichardt, Schubert, Wolf, Parry, Fauré, Emmanuel, Orff, Couroupos, Theodorakis) and theatrical (Wilson) interpretations, on the other hand through its relations with philosophy, poetry, plastic arts, dramatic art or dance. It allowed us to emphasize the evolutionary features of the Promethean figure into the artists' musical creative imaginary taking into consideration the Weltanschauung of their nation and of their time in order to detect the deep musical essence characteristic of promethean myth
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Hoek, Elizabeth Antoinette. "South African unit standards for a general music appraisal programme at NQF levels 2-4, with special reference to ensemble specialisation for available instruments." Thesis, University of Pretoria, 2001. http://hdl.handle.net/2263/30172.
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Holmbom, Erik. "Kroppen, knoppen och musiken : Ett utvecklingsarbete om prestationsångest och scenskräck på estetiska programmet i musik." Thesis, Luleå tekniska universitet, Pedagogik, språk och Ämnesdidaktik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-83049.
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Detta utvecklingsarbete handlar om att skapa en förståelse för vad som ligger till grund för presta- tionsångest och scenskräck och hur man kan använda sig av olika fysiska och verktyg för att mot- verka sådana känslor. Under höstens VFU-period så har en ensembleklass bestående av elever från årskurs 2 och 3 haft undervisning där fokuset har legat på att implementera diverse övningar för att lära åstadkomma en större fysisk och psykisk förståelse och kontroll över sin kropp och psyke. Ge- nom en kvalitativ undersökning och analys i form av enkätundersökningar och fokusgruppsintervju så visade det sig att eleverna initialt bl.a. upplevde en relativt hög grad av stress och nervositet i samband med ensemblemusicerande vid repetition/konsert. De hade inte heller en speciellt hög tro på att mentala och fysiska övningar kan åstadkomma en förbättring i det avseendet. Efter 10 veckor av verksamhetsförlagd utbildning visade resultatet att eleverna genomgått en positiv progression där de har fått en större förståelse för hur psyke, kropp och musikutövande lever i symbios och hur det kan kontrolleras.
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Lagerwall, Gustaf. "Musikteori i praktiken : En kvantitativ studie om i vilken utsträckning elever i åk 3 på estetiska programmet integrerar sina teoretiska kunskaper i sitt praktiska musicerande." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-8733.
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Syftet med denna undersökning är att ta reda på om och i vilken grad elever, och lärare i ensemble och musikteori, upplever att eleverna integrerar musikteori och ensemble samt ifall bakgrund i musik- eller kulturskola påverkade integrationen. Jag använde mig av en kvantitativ undersökningsmetod, det vill säga enkätundersökning i mitt datainsamlande. Fyra skolor i olika storlek och olika delar av Sverige deltog i undersökning som genomfördes med ett ”emic” insider- och ”epic” outsiderperspektiv, det vill säga elev- och lärarperspektiv.I min bakgrund visar jag att musiklära kurs A enligt kursplanen ska ligga till grund för det egna musicerandet. Ensemblekursen har främst för avsikt att ge grundläggande färdigheter relaterade till sång eller instrument, men påvisar koppling i B-kursen. Rostvall & West skriver om kognitiva scheman för att lära in nya saker, och beskriver hur man kan gå igenom dem på olika sätt för att få djupare kunskap. Flera av examensarbetena jag läst visar att vikten av integration mellan teori och praktik skiljer beroende på vilken genre man spelar.Resultatet visar att elever i storstadsområden i högre grad än de i glesbygden gått i musik- eller kulturskola innan gymnasiet, samt att elever med förutbildning håller teoriintegration i det praktiska musicerandet högre än de andra. De flesta eleverna upplever sig göra kopplingen mellan teori och praktik i relativt stor utsträckning, medan lärarna upplever att de gör detta ganska lite. De flesta lärarna upplever även att kunskapsnivån på eleverna sjunker varje år. Teorilärarna hoppas på mer koppling till praktiken i framtiden och eleverna efterfrågar mer koppling till sina egna instrument i teoriundervisningen. Ensemblelärarna tror att undervisningen i framtiden mer kommer att utgå ifrån elevernas musik och bli mer gehörsbaserad.<br>The purpose of this study was to discern the extent of how students and teachers of ensemble and music theory, regard the integration of the students’ knowledge of music theory and ensemble, and if a background in music school affected the integration. I used a quantitative survey method. Four schools of different sizes and different parts of Sweden participated in the survey conducted by a "emic" inside and "epic" outsider perspective, that is, student and teacher perspectives.In my background, I show that music theory A according to curriculum will form the basis for their musicianship. The ensemble course is primarily intended to provide basic skills related to their vocals or instruments, but showing a link to theory the B-course. Rostvall & West write about cognitive schedules, and describe how to teach something in different ways for a deeper learning. Several of the works I have read show that integration is greatly affected by each individual genre.The results show that students in metropolitan areas to a greater extent than those in rural areas have attended music schools before high school, and students who already possess a basic understanding of theory place a greater value of its inclusion in their playing. Most students feel they make the connection between theory and practice in a relatively large scale, while teachers feel the extent is rather small. Most teachers also feel that the knowledge level of students drops each year. Music theory teachers would prefer a greater connection between theory and performance in the future, and students would like more access to their own instruments in the music theory classroom. Ensemble teachers are of the opinion that teaching in the future will be based more on the students’ repertoire, with added emphasis on aural skills.
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Heimisson, Gudmundur Torfi. "The importance of program-delivered differential reinforcement in the development of classical music auditory discrimination." [Tampa, Fla.] : University of South Florida, 2004. http://purl.fcla.edu/fcla/etd/SFE0000440.
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Hedberg, Krister. "”Det är jättekul med killar och sång” : En studie om hur gymnasieelever vid estetiska programmet resonerar kring instrumentval ur ett genusperspektiv." Thesis, Örebro University, School of Music, Theatre and Art, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-4903.
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<p>Syftet med denna uppsats är att undersöka och beskriva tankar kring instrumentval och genus hos gymnasieelever vid estetiska programmet. Den huvudsakliga frågan är varför killar och tjejer väljer de instrument de gör. I undersökningen intervjuades två killgrupper och två tjejgrupper från två olika gymnasieskolor. Resultatet visar att det är många faktorer som</p><p>tillsammans avgör vilket instrument en elev väljer. Grupperna bekräftade att det inte var en jämn fördelning mellan kön och instrument och det var företrädelsevis tjejer som satsade på sång. Många uttryckte en vilja att det skulle se annorlunda ut även om ingen var beredd att ändra på sig själv. Några av de tydligaste faktorerna kring anledningarna till instrumentval är</p><p>påverkan från idoler, föräldrar och kompisar. Uppmuntran verkar också vara en viktig faktor. En anledning till att så få killar sjunger visar sig inte bara handla om rädslan för vad som</p><p>verkar uppfattas som sångens feminina sidor, utan även om att tiden då de väljer instrument är en känslig period röstligt just för killar. Deltagare i undersökningen uttryckte att de gärna nu skulle kunna tänka sig att spela ett instrument som de menar är typiskt för det andra könet, att det skulle vara ”häftigt”. De menar dock att det inte tidigare skulle varit möjligt för dem att välja så när de var i den åldern då mycket går ut på att passa in och inte sticka ut. Nu menar de att det är för sent att byta inriktning med sitt musicerande. Det verkade i samtliga grupper finnas en stor rädsla att bejaka könsmönster även om de på många sätt verkade göra precis</p><p>det.</p>
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Benoît, Josée. "La motivation d'élèves de 9(e) et 10(e) année à s'inscrire à un programme spécialisé en musique dans une école secondaire de langue française de l'Ontario." Thesis, University of Ottawa (Canada), 2005. http://hdl.handle.net/10393/27110.
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L'abolition d'une année de scolarité au secondaire et la récente réforme scolaire en Ontario font en sorte que les élèves ont moins de cours optionnels à suivre dans leur programme. Par conséquent, certaines écoles font de grands efforts pour inciter les élèves à recevoir une formation artistique en développant des programmes spécialisés. De tels programmes permettent aux élèves inscrits de suivre des cours d'art tous les jours et tout au long de leur programme scolaire au secondaire. Cette étude cherche alors à mieux comprendre ce qui motive des élèves à s'inscrire à un programme spécialisé en musique.
Dans une démarche qualitative, des entrevues semi-dirigées et des groupes de discussion ont été réalisés auprès d'élèves de 9e et 10e année inscrits dans un tel programme dans une école secondaire de langue française de l'Ontario. Cette recherche s'appuie principalement sur la théorie de l'autodétermination (Deci et Ryan, 1985; Ryan et Deci, 2000a) qui reconnaît la prédominance des besoins d'autonomie, de compétence et d'appartenance pour favoriser la motivation et le bien-être de l'élève. L'analyse des données recueillies fait ressortir des motifs, tant intrinsèques qu'extrinsèques, qui incitent des élèves à s'inscrire à un programme spécialisé en musique. Cette étude permet alors de voir comment des adolescents parlent de leurs besoins et de leur motivation dans leur formation musicale.
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Hiney, Aoife. "Pedagogy through performance: a Kodály-based musical literacy programme for communitarian choirs." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/23379.
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Doutoramento em Música<br>The primary objective of this research was to develop a musical literacy programme – with correlated repertoire written specifically for the programme –that was implemented during choral rehearsals, creating a bridge between pedagogy and performance. Data from the Música no Meio project’s survey of choral conductors in Portugal shows that although 80% of the surveyed choirs use scores, only 15% of the singers have developed the musical literacy skills required to autonomously read the score. Previous research (Hiney, 2012) has also shown that in the absence of musical literacy, rote-learning (imitating the conductor until the music is memorised) is the most common technique used to transmit repertoire. This thesis addressed two main problems associated with a lack of musical literacy skills; firstly the impact of rote-learning on repertoire selection, rehearsal efficiency and hence standards of performance and secondly the implications for artistic creativity, as the singers confined to the oral as opposed to the literate area (Williams, 1981) may be considered artisans, making art without any involvement in creative or artistic processes (Reimer, 1970). The musical literacy programme, based on Kodály’s Concept of Music Education, was developed with the members of the communitarian choir, Voz Nua in Aveiro, Portugal. Six composers participated in this project, writing pieces with progressive levels of difficulty that corresponded to each of the three phases of the literacy programme. Qualitative data produced through interviews and focus groups with the singers of Voz Nua and the composers was analysed in order to gain an understanding of their experience of participating in the musical literacy programme. This data showed that the development of musical literacy skills increased the efficiency with which the choir learns new repertoire, allowing more time for interpretation and impacting positively on the choir’s quality of performance.<br>O objectivo principal deste trabalho foi o desenvolvimento de um programa de literacia musical, recorrendo a repertório expressamente escrito para este programa, que foi implementado no contexto de ensaios corais, construindo uma ligação entre a pedagogia e a performance. Em anteriores pesquisas, nomeadamente no projecto ‘Música no Meio’, foi realizado um inquérito nacional com maestros de coros em Portugal que demonstrou que, apesar de cerca de 80% dos coros usarem partituras, apenas 15% dos cantores conseguem ler essas mesmas partituras de um modo autónomo. Num dos estudos presentes neste projeto (Hiney, 2015) foi possível ainda perceber que, na ausência de literacia musical, a aprendizagem por memorização (rote-learning) é a técnica mais frequentemente utilizada na transmissão do repertório. Esta tese concentra-se em dois dos problemas ligados à escassez de literacia
musical, sendo o primeiro o impacto da aprendizagem por memorização na seleção de repertório, na eficiência do ensaio, e portanto, no nível de performance de um coro, e o segundo nas implicações para a criatividade artística, uma vez que os cantores que pertencem à zona da oralidade ao invés da zona da literacia (Williams, 1981) poderiam ser considerados artesãos, ao
‘fazer’ arte sem participar nos processos criativos ou artísticos (Reimer, 1970). Foi assim concebido um programa de literacia musical, baseado em Kodály, que foi realizado com os cantores do coro comunitário Voz Nua em Aveiro, Portugal. Participaram ainda neste projecto seis compositores que escreveram obras com graus de dificuldade e objectivos específicos para cada uma das três fases do programa. Os dados qualitativos produzidos através de entrevistas e focus groups com os cantores de Voz Nua e com os compositores, foram analisados tendo em
vista uma melhor compreensão das experiências vividas pelos participantes no decorrer programa. Estes dados permitiram perceber que, após a desenvolvimento do programa de literacia musical, se verificou um aumento da eficiência nos ensaios e na aprendizagem de novo repertório, libertando mais tempo de ensaios para a componente interpretativa, com impacto positivo na qualidade da performance do coro.
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Watkins, Gregory Shroll. "A framework for interpreting noisy, two-dimensional images, based on a fuzzification of programmed, attributed graph grammars." Thesis, Rhodes University, 1998. http://hdl.handle.net/10962/d1004862.
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This thesis investigates a fuzzy syntactic approach to the interpretation of noisy two-dimensional images. This approach is based on a modification of the attributed graph grammar formalism to utilise fuzzy membership functions in the applicability predicates. As far as we are aware, this represents the first such modification of graph grammars. Furthermore, we develop a method for programming the resultant fuzzy attributed graph grammars through the use of non-deterministic control diagrams. To do this, we modify the standard programming mechanism to allow it to cope with the fuzzy certainty values associated with productions in our grammar. Our objective was to develop a flexible framework which can be used for the recognition of a wide variety of image classes, and which is adept at dealing with noise in these images. Programmed graph grammars are specifically chosen for the ease with which they allow one to specify a new two-dimensional image class. We implement a prototype system for Optical Music Recognition using our framework. This system allows us to test the capabilities of the framework for coping with noise in the context of handwritten music score recognition. Preliminary results from the prototype system show that the framework copes well with noisy images.
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Marika, Wirung. "Musik i kubik : En kvantitativ enkät studie om var gymnasieelever som spelar ett symfoniorkester instrument skaffat sig sin musikaliska utbildning, innan de väljer estetiska programmet och läser kursen Instrument eller sång på gymnasiet." Thesis, Umeå universitet, Institutionen för estetiska ämnen i lärarutbildningen, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-181607.
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This essay examines where students gain their knowledge of exercising a musical instrument before they choose aesthetic focus of music in high school, on an instrument used in today’s symphony orchestras. In elementary school curriculum there is no room for students to learn to play an orchestra instrument, you have to obtain your music lessons outside compulsory school. Despite this, there is a vocational training in music in high school where you get individual teaching on your musical instrument, the course Instrument or song. This can be understood through curriculum theory. I used a quantitative method. The empirical data is based on a survey. All students in this survey have received their education outside primary school. 73% of the students have received their education through the cultural school. 50% of the students that play a string instrument had taken Suzuki education and started their education in preschool age. The knowledge legitimized through the formulations of curriculums are political decisions that are about what the state believes citizens should be able to perform to develop a well functioning society. As long as the teaching is not free and does not fall under Swedish National Agency for Education's regulations, all children do not have the same opportunities for learning to play a music instrument. This becomes a social ethical problem when it comes to the accessibility for everyone to play a musical instrument and perhaps especially an orchestra instrument.
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Van, As Rosina. "Die toepassing van die aksieleerbenadering in rap-onderrigleer / R. van As." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9220.
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The way that inner city learners and their educators experience life varies to a great extent. A music programme relevant to the needs of learners can create better understanding between these groups. The success of such a programme depends on an effective teaching-learning approach. The action learning approach, developed by Reginald Revans and adapted for music by Thomas A. Regelski, was implemented in a once-off rap programme at an inner city school in Gauteng. The aim of the programme was the acquisition of practical musical skills by learners through participation in a real-life musical event. The programme was offered on the basis of six specific action learning principles. The action learning approaches of Revans and Regelski were adapted to suit local goals and circumstances.<br>Thesis (MMus (Musicology))--North-West University, Potchefstroom Campus, 2013.