Tesis sobre el tema "Music training"
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Sairanen, Anna Pauliina. "Mental training in opera". Thesis, Stockholms konstnärliga högskola, Operahögskolan, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-623.
Texto completoPaton, Rod. "The process of renewal in music and music education". Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307250.
Texto completoKirchhubel, Julie y n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training". Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.
Texto completoKirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Cognition, Language and Special Education
Faculty of Education
Full Text
Herbst, Anna Catharina. "Didactical perspectives of aural training". Thesis, Stellenbosch : Stellenbosch University, 1993. http://hdl.handle.net/10019.1/57896.
Texto completoENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory towards Aural Training are furthermore made. The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological approaches found in published and unpublished sources, as well as a practical questionnaire-based survey, investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA), the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an integrated Aural Training approach for children is proposed in the third part. Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c) prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable; (h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and teaching methods; (j) commercially available software is often chosen because of its availability and not because of being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals of Aural Training and to apply music psychological principles. Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the conviction that most effective learning takes place through active involvement and creation, and (b) music psychological principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman, and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural Training methods. Examples of children's compositions are presented to support this model. It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents, teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through composition.
AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding word ten slotte voorgestel aan hand van hierdie inligting. Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel. 'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel. Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c) voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f) gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in gehooropleiding te inkorporeer. Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick- Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking, aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes. Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar is. Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t) metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k) gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word.
Milam, Kenneth Baker. "A music training program for Baptist church music leaders and pastors in Indonesia". Theological Research Exchange Network (TREN), 1995. http://www.tren.com.
Texto completoCahoon, Laura Kay. "MUSIC THERAPY AND MULTICULTURAL COMPETENCE: A SURVEY OF MUSIC THERAPISTS' TRAINING AND PERCEPTIONS". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/131.
Texto completoFleming-DeBerger, Rachelle. "Guidelines and Criteria to Assess Singing and Music Training in Baccalaureate Music Theater Programs". Scholarly Repository, 2011. http://scholarlyrepository.miami.edu/oa_dissertations/688.
Texto completoTheron, 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/.
Texto completoHastings, Jennifer M. "Bilateral arm training with rhythmic auditory cueing : rehabilitation metts music therapy". Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/781.
Texto completoHurry, Pamela Susan. "A critical study of A-Level music and its relationship with higher education and the music industry". Thesis, University of Liverpool, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309951.
Texto completoClark, Terry William. "Mental skills in music : investigating use, ability, and training". Thesis, Royal College of Music, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576934.
Texto completoEigelaar, Mari. "Music therapists' experiences of developing clinical musicianship during training". Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/50896.
Texto completoMini-dissertation (Mmus)--University of Pretoria, 2015.
tm2015
Music
Mmus
Unrestricted
Davis, Trevor E. "The Training of Jazz and Popular Styles in Multiple Woodwind Degree Programs". Thesis, The University of North Carolina at Greensboro, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261377.
Texto completoI. Solo Recital: Saturday, November 1, 2014, 5:30 p.m., Organ Hall. Three Pieces, Op. 30 (Max Laurischkus); Concerto for Clarinet (Henri Tomasi); Carnival of Venice (Paul JeanJean); Press Release (David Lang).
II. Solo Recital: Friday, April 17, 2015, 7:30 p.m., Recital Hall. Fantasy-Ballet (Jules Mazellier); Concertino, Op. 15 (Jeanine Rueff); Klezmer Rhapsody (Paul Steinberg); Quirk for bass clarinet and computer (Eric Honour); Clarinet Concerto (John Veale).
III. Solo Recital: Saturday, March 19, 2016, 1:30 p.m., Organ Hall. Clarinet Concerto in A Major, K. 622 (Wolfgang Amadeus Mozart); Bucolique for Clarinet and Piano (Eugene Bozza); Pastorale (Souvenirs du Frög) (Daniel Dorff); Industrial Strength for Bass Clarinet and Piano (Kenji Bunch).
IV. D.M.A. Research Project. THE TRAINING OF JAZZ AND POPULAR STYLES IN MULTIPLE WOODWIND DEGREE PROGRAMS, (2017).
This project attempts to determine if graduate students in multiple woodwind degree programs are provided adequate access to jazz training or performance opportunities as part of the degree program. To meet the professional expectations in the field, multiple woodwind instrumentalists not only need to be able to play several woodwind instruments well, but also in a wide range of styles. In particular, players must be literate in jazz performance styles, primarily to be able to play in swing or big band style but also, occasionally, to improvise.
Degree requirements that were available online from twenty-four universities that offer a graduate degree in multiple woodwinds were examined, in addition to the background and areas of expertise of some of the woodwind faculty. Interviews were conducted of four woodwind doublers who have played in pit orchestras for Broadway-type shows to learn how they became qualified for that work. In all cases, no identifying information of the players and university programs were shared in the reporting of this study.
University websites tend to outline only partially the curricular requirements of the Master’s level multiple woodwind degree, but it was determined that jazz saxophone is not consistently included as part of the multiple woodwind curriculum. Those interviewed all emphasized that the ability to perform in multiple styles and to perform adequately the stylistic interpretation of written notation in a convincing jazz style is an essential expectation of those jobs. Interviewees recalled that little to no jazz training was accessible in their Master’s degrees, and those who were most successful playing in a jazz style had previous access to jazz performance opportunities in their undergraduate degrees. Transcripts of the four interviews are provided as an appendix.
Rush, Mark Alan. "An Experimental Investigation of the Effectiveness of Training on Absolute Pitch in Adult Musicians". Connect to resource, 1989. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1216931520.
Texto completoGerber, Casey Lynn. "Ear training and music reading methods used by Philip C. Hayden : music literacy through rhythm forms /". Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417161&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279215869&clientId=22256.
Texto completoTypescript. Vita. "May 2008." Major professor: Alan L. Spurgeon Includes bibliographical references (leaves102-113). Also available online via ProQuest to authorized users.
Ho, Wai Chung. "Hong Kong secondary music education : a sociological enquiry". Thesis, University College London (University of London), 1996. http://discovery.ucl.ac.uk/10020263/.
Texto completoVan, Hook Colin. "The Relationship Between Instrumental Music Training and Corpus Callosum Growth". Thesis, Boston College, 2004. http://hdl.handle.net/2345/467.
Texto completoRecent studies have shown differences between several structures in the brains of professional level musicians and non-musicians. Professional musicians form an ideal group to study changes in the human brain due to the unique abilities required of them. Since many musicians begin training at a young age, it is assumed that these differences are attributable to intense, early experience brought on by the cognitive and motor demands of music training. However, it remains to be seen whether these structural differences are due to changes brought on by experience or preexisting ones which draw children to music lessons. Using magnetic resonance images, I compared the size of the corpus callosums in two groups of children who ranged between the ages of five and seven, one just beginning music lessons and another not beginning music lessons. I also compared the groups in terms of their performance on a finger tapping test for differences in speed and accuracy. A second set of comparisons of callosal size was conducted between nine-to-eleven-year-olds who had been taking music lessons for at least a year and those who had not. Differences in the five-to-seven-year-olds were seen in the anterior corpus callosum corrected for brain volume between the musician and non-musician groups. Differences in accuracy of finger tapping were seen between the musicians and non musicians, as well as between those in the musician group who had received less than sixteen or twenty-five weeks of training versus those who had received less. These findings indicate that while musicians start out with at least one slightly larger measure of corpus callosum size, differences in finger skill tend to develop slowly
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: Psychology
Discipline: College Honors Program
Kemper, Keisha L. "The Effects of Music on Perceived Exertion During Resistance Training". University of Cincinnati / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1267556688.
Texto completoNeedham-Beck, Sarah. "Cardiorespiratory fitness in contemporary dance training and performance". Thesis, City, University of London, 2017. http://openaccess.city.ac.uk/18150/.
Texto completoBolanis, Susan Loehrke. "Children's responses to live musical performance by an ensemble without, then with pedagogical training". [S.l. : s.n.], 1996. http://catalog.hathitrust.org/api/volumes/oclc/53916456.html.
Texto completoMorgan, Christopher. "Instrumental music teaching and learning : a life history approach". Thesis, University of Exeter, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.284626.
Texto completoYoung, Susan. "Young children's spontaneous instrumental music-making in nursery settings". Thesis, Roehampton University, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368827.
Texto completoDeBeus, Roger J. (Roger John). "The Effects of Music Training on Electroencephalographic Coherence of Preschool Children". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278071/.
Texto completoCheston, Sharon Brown. "Relationships among harmonic complexity preference, musical training and experience, and music aptitude in high school music students". Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1057865886.
Texto completoFlolu, Emmanuel James. "Re-tuning music education in Ghana : a study of cultural influences and musical development, and of the dilemma confronting Ghanaian school music teachers". Thesis, University of York, 1994. http://etheses.whiterose.ac.uk/14045/.
Texto completoCrocco, Laura. "A Systematic Approach to One-to-One Classical Singing Training in Higher Education". Thesis, The University of Sydney, 2018. http://hdl.handle.net/2123/18340.
Texto completoPinard-Welyczko, Kira. "Does Training Enhance Entraining? Musical Ability and Neural Signatures of Beat Perception". Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495617848085978.
Texto completoNota, Charles. "In-service training models for music educators in Zimbabwe / Charles Nota". Thesis, North-West University, 2010. http://hdl.handle.net/10394/4099.
Texto completoThesis (M.Mus.)--North-West University, Potchefstroom Campus, 2010.
De, Villiers Ronel. "A teacher training framework for music education in the Foundation Phase". Thesis, University of Pretoria, 2017. http://hdl.handle.net/2263/65434.
Texto completoThesis (PhD)--University of Pretoria, 2017.
Humanities Education
PhD
Unrestricted
Winter, Neal y n/a. "A study of music performance assessment : the effects of training and experience on criteria used by music examiners". University of Canberra. Education, 1991. http://erl.canberra.edu.au./public/adt-AUC20061110.163509.
Texto completoLynn-Seraphine, Pamela. "Neurodrumming| Towards an Integral Mental Fitness Training for Healthy Aging". Thesis, California Southern University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10195171.
Texto completoHumans as far back as ancient history have been leveraging the physiological and psychological benefits of drumming to enhance health, access higher states of consciousness, and cultivate shared optimal experiences. It is understandable that the applied practice of drumming is now starting to permeate into mental fitness training research as a healthy alternative toward cross training the brain. Extensive surveys conducted in the United States show that 60% of individuals who are in middle age and older complain about their memory. This translates to approximately 80 million Baby Boomers reaching the age of memory decline. Furthermore, according to the UCLA research, the main factors necessary for a healthy brain lifestyle and to combat memory decline are physical activity, social engagement, mental challenges, and unfamiliar stimuli. Neurodrumming has incorporated these findings into a therapeutic intervention that targets brain health, emotional health, stress management, and social engagement, all of which help to prevent cognitive decline, and promotes mental performance. This study offers a meta-theoretical exploration to determine the comprehensiveness of Neurodrumming as a therapeutic mental fitness intervention for healthy aging, by applying Integral Theory as an epistemological framework.
Crouch, Lynnette. "Developing an electronic resource for Kwaito Music in the Further Education and Training (FET) band (Grades 10 - 12)". Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80337.
Texto completoENGLISH ABSTRACT: Kwaito music, pronounced either as kwhy-toh, or quite-oh, is an indigenous South African music style which came into existence after the apartheid era was abolished. It was created by the black South African youth at the time when everyone was looking forward to embrace the new South Africa as well as a new music style. The people in the Gauteng ghetto/townships called it KWAITO after the Afrikaans isicamtho (slang) word "kwai" which means "good" or "hot." It also stems from the Afrikaans word 'kwaai" meaning "angry." It can also mean that "the guys are hot." Kwaito is a distinctly home-grown music style, reflecting life in South Africa in the local languages and urban slang. It also has its own style of dancing, speaking, dress code and performing. It includes kwaito genres ranging from guz (meaning to show a sign of affection for your fellow human beings) d'gong (meaning "out of control") and isgubhu "drum" to swaito (an improved term for kwaito). The music is basically dance music and the lyrics are in many cases unsubstantial or even nonsensible for example in the kwaito artist, Mandoza's song, Godoba, the words "Cyborg/Move your skeleton" are being repeated throughout the song. Kwaito is normally not sung, but chanted or spoken rhythmically over the music. Kwaito music has a very high impact on many young people's lives because many young kwaito music artists have become very rich almost overnight. Black youth see the kwaito trend as a way out of their poor existence within the townships/ghettos. This study aims to divert the focus from the kwaito lifestyle (clothing, glamour, materialism) and instead concentrates on the musical aspects thereof. Many classically trained musicians and music teachers frown upon the kwaito music style and regard it as being senseless, unsophisticated and of a lower quality than the popular music that they are used to listening to. As with all other South African music styles such as mbaqanga, kwela, Afrikaans music, township jazz, Kwaito music is introduced into the secondary school subject music curriculum for grades 10- 12. Many schools in South Africa have installed computer laboratories for effective teaching and learning to take place. Schools also have music keyboard laboratories where learners are taught to compose electronic computer music. In view of the fact that almost all learners are computer literate the author has designed this electronic resource with lesson plans for teachers to be used in the secondary school on kwaito music specifically. One lesson plan is an example where kwaito music is notated and used in a four part harmony exercise. This resource is not geared towards the marketing of kwaito as a music style but is geared to make it substantial to be used as lesson material for secondary school subject music. A further aim is to sensitise the more musically educated ear to the musical qualities of the kwaito music style because in many cases it is being ignored by both learners and educators. This study is based on literature studies, empirical study. A website on kwaito music is designed and developed which contains information on the history of kwaito, the cultural democracy of kwaito, various artists, recording and marketing thereof. Sample lesson plans are also developed as part of the resource.
AFRIKAANSE OPSOMMING: Kwaito musiek, uitgespreek as kwy-toh of kwaai-toh, is 'n inheemse Suid-Afrikaanse musiekstyl wat na die apartheid era tot stand gekom het. Dit was deur die swart Suid Afrikaanse jeug geskep in die tyd toe almal daarna uitgesien het na 'n nuwe Suid Afrika sowel as 'n nuwe musiekstyl. Mense in die agter-geblewe gemeenskappe (ghettos) van Gauteng het hierdie musiekstyl KWAITO genoem afgelei van die Afrikaans "isicamtho" (gemengde tale) woord 'kwai' wat 'goed' of 'warm' beteken. Dit hou ook verband met die Afrikaanse woord 'kwaai' wat 'kwaad' beteken. Daar word ook geinsinueer dat 'die ouens goed of warm voorkom.' Kwaito is 'n kenmerkende plaaslike musiekstyl wat die alledaagse bestaanslewe in Suid Afrika deur middel van plaaslike tale en stedelike spreektale weerspieel. Dit het sy eie dansstyl, manier van praat, klere-modes en verhoog optredes. Dit sluit kwaito style soos Guz (wat beteken om vir jou medemens om te gee), D'gong (om buite beheer te wees),isgubhu (trom) en Swaito ('n verbeterde vorm van kwaito) in. Die musiek is basies dansmusiek en die lirieke is baie keer oppervlakkig of dit maak in sommige gevalle selfs nie sin nie soos byvoorbeeld in die kwaito kunstenaar, Mandoza, se lied Godoba, word die woorde 'Cyborg, beweeg jou geraamte' aanhoudend herhaal. Kwaito word gewoonlik nie gesing nie, maar ge'rap' wat beteken dat die woorde ritmies met klankbegeleiding gese word. Kwaito het 'n baie groot invloed op baie jongmense se lewens aangesien heelwat van die jong kwaito kunstenaars feitlik oornag baie beroemd en skatryk geword het e Die jeug dit as 'n uitweg beskou om hulself uit hul ellende en armoede te verhef Die doel van hierdie studie is om die fokus vanaf die kwaito leefstyl (kleredrag, glans en materialisme) te skuif en liewer op die musikale aspekte daarvan te konsentreer. Heelwat musikante en musiek onderwysers wat in klassieke musiek geskool is,stel nie in hierdie musiekstyl belang nie omdat hulle dit as sinneloos, ongesofistikeerd en van 'n lae gehalte as die bekende populere musiek beskou. Kwaito musiek is net soos aile ander Suid- Afrikaanse musiekstyle soos mbaqanga, kwela, Afrikaanse musiek, Afrika jazz by die vakmusiek leerplan vir sekondere skole, ingesluit vir grade 10- 12. Heelwat skole het rekenaar laboratoriums geinstalleer om effektiewe onderrig en leer te verskaf. Verskeie skole het selfs musiek klawerbord laboratoriums waar leerders geleer word om elektroniese rekenaarmusiek te komponeer. Weens die feit dat amper aile leerders rekenaar geletterd is, het die skrywer hierdie elektroniese kwaito hulpbron met lesplanne vir sekondere skool musiekonderwysers ontwikkel. Een lesplan is 'n voorbeeld waar kwaito musiek genoteer is en in 'n vierstemmige harmonie oefening gebruik word. Hierdie hulpbron is geensins daarop gemik om kwaito as 'n musiekstyl te bemark nie, maar om dit substantief te maak as lesmateriaal vir sekondere skool gebruik. 'n Verdere doel is om die musikale oor vir kwaito klank sensitief te maak aangesien dit baie kere deur beide leerkragte en leerders geignoreer word. Hierdie studie is gebasseer op literatuurstudies en empiriese studie. 'n Webblad is ontwikkel wat inligting oor die geskiedenis van kwaito, die kulturele demokrasie van kwaito, verskeie kunstenaars, asook die klankopnames en bemarking daarvan. Lesplanvoorbeelde is ook ontwikkel as deel van die hulpbron.
Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students". Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.
Texto completoSanyshyn, James Evan. "The role of Canadian music in the preparation of music specialists in British Columbia /". Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30213.
Texto completoMufute, Josphat. "The training of the non-specialist music teacher in Zimbabwe : a case study". Thesis, Nelson Mandela Metropolitan University, 2007. http://hdl.handle.net/10948/565.
Texto completoGray, Tonya E. "The relationship between the undergraduate music methods class curriculum and the use of music in the clasrooms of in-service elementary teachers". Virtual Press, 2000. http://liblink.bsu.edu/uhtbin/catkey/1167794.
Texto completoSchool of Music
Weber, Bryce Matthew. "Training the communicative recitalist: exercises inspired by Sanford Meisner's repetition exercise". Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/3550.
Texto completoMasko, Meganne Kathleen. "Music therapy and spiritual care in end-of-life: ethical and training issues identified by chaplains and music therapists". Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/5021.
Texto completoKwami, Robert Mawuena. "African music, education and the school curriculum". Thesis, Boston Spa, U.K. : British Library Document Supply Centre, 1989. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.296838.
Texto completoKaraseva, Marina V. "New Music and Ear Training. Groping for Way In – Widening Way Out". Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72049.
Texto completoCrollick, Jody Leigh. "Music and movement an investigation of the influence of formal music training and significant athletic experience on rhythmic perception /". [Gainesville, Fla.] : University of Florida, 2005. http://purl.fcla.edu/fcla/etd/UFE0010301.
Texto completoToppozada, Manal R. "Multicultural training for music therapists : an examination of current issues based on a national survey of professional music therapists". Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2276.
Texto completoReimer, David Roy. "Violin performance training at collegiate schools of music and its relevance to the performing professions: a critique and recommendation". The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1054687230.
Texto completoPierson, A. J. "The development of the use of microelectronics in music education in schools". Thesis, University of Nottingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.320743.
Texto completoDrummond, Brendan. "The classroom music teacher - an uncertain profession? : the Northern Ireland perspective". Thesis, University of Ulster, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.267683.
Texto completoSigler, Shitong Zhan. "A Survey of Literature on Entrepreneurial Experiences for Classical Musicians: Implications for Training Pianists". The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu1619146165528988.
Texto completoMassey, Sara Miller. "The effects of auditory-motor mapping training on speech output of nonverbal elementary age students with autism spectrum disorder". Thesis, The University of North Carolina at Greensboro, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10123641.
Texto completoThe purpose of this study was to investigate the effect of auditory-motor mapping training (AMMT) on the speech output of nonverbal elementary age students with autism spectrum disorder (ASD). Auditory-motor mapping training facilitates the development of association between sounds and articulatory actions using intonation and bimanual drumming activities. This intervention purportedly stimulates neural networks that may be dysfunctional in persons with ASD.
Seven nonverbal children with a primary diagnosis of ASD participated in twelve 20-minute weekly sessions consisting of engagement with 15 predetermined target words through imitation, singing, and motor activity (all components of AMMT). Assessments were made at baseline, mid-point, and post AMMT intervention sessions. These probes were used to determine the effects of AMMT on expressive language abilities of speech output. A null hypothesis was tested to determine the significance of the independent variables of singing, showing visual cues, and drumming on the speech output of nonverbal children with ASD, age five through eight years (p ≤ .05). Additionally, effects of AMMT on children's development of social communication skills also were examined at the end of each intervention session.
Results of the study revealed no significant effect of the AMMT intervention on the speech output of elementary age children with ASD from the best baseline to probe one and probe two (p = .424), therefore the null hypothesis that there was no significant effect of auditory-motor mapping training (AMMT) on speech output of nonverbal elementary children with ASD was retained. Additionally, a comparison of the growth of the independent ‘High Five’ gesture from session one to session twelve yielded no statistical significant results (p > .05). The McNemar chi-square was used to compare this secondary AMMT effect from sessions two to eleven, and revealed a positive growth trend that approached a significant outcome associated with the children's social communication responses ( p =.063).
Although significant changes in the nonverbal children's speech output were not substantiated in this study, there were areas of growth for all children in this study that were highlighted through qualitative analysis and descriptive narratives. Confounding variables that possibly affected children's speech output and social communication development were addressed. Additionally, recommendations were made for future research involving music as a vehicle for speech development for nonverbal elementary age children with ASD.
Sa, Vienna. "The effect of Music Attention Control Training (MACT) for pre-adolescents with Autism Spectrum Disorder". Scholarly Commons, 2020. https://scholarlycommons.pacific.edu/uop_etds/3666.
Texto completoMcNeil, Alison Fiona. "Aural skills and the performing musician : function, training and assessment". Thesis, University of Huddersfield, 2000. http://eprints.hud.ac.uk/id/eprint/4749/.
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