Rozprawy doktorskie: „Music practice”

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Veblen, Nora Bryant. "MUSIC THERAPISTS’ PERCEPTIONS AND PRACTICES REGARDING MUSICAL AUTHENTICITY IN MUSIC THERAPY PRACTICE". UKnowledge, 2018. https://uknowledge.uky.edu/music_etds/129.

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Music therapists are expected to provide live music for clients with diverse preferences, yet these therapists face many barriers preventing them from recreating client-preferred music in a way that adheres to the expectations of the genre, or with “musical authenticity.” The purpose of this study was to investigate music therapists’ perceptions and practices regarding musical authenticity. Survey responses (n = 904) indicated that music therapists highly value musical authenticity, but a major theme in the qualitative data revealed they often balance its importance with other factors. Descriptive survey data and qualitative themes revealed lack of training in functional musicianship and electronic technology as major barriers to musical authenticity. A major qualitative theme regarding therapists’ practices was the use of collaboration with clients and creative solutions. Most participants indicated use of non-electronic strategies and reported they had not used electronic technology to increase musical authenticity. Descriptive survey data and qualitative themes revealed frequent and effective use of recorded music. Finally, chi-square analyses revealed significant relationships between age and use of technology and iPad and between gender and use of technology. Music therapists would benefit from additional training, more research on authenticity, and music therapy specific guidelines for using music authentically.

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Stolp, Mareli. "Contemporary performance practice of art music in South Africa : a practice-based research enquiry". Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71885.

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Thesis (PhD)--Stellenbosch University, 2012.
Sensitive areas within this text have been blacked out. Please refer to the attachment.
ENGLISH ABSTRACT: In this dissertation, I examine contemporary South African art music performance practice and the social function it fulfils. Performance practice is understood in this study to mean an art practice or cultural item constituted by three types of 'role-players': performers of art music, composers of works in the art music genre and audiences that assimilate and respond to these works when performed. My own position as a performing artist in South Africa has suggested most of the research questions and problems dealt with in this dissertation, which was approached as a practice-based research study. Practice-based research, an emergent kind of research which aims at integrating practical and scholarly work, is becoming increasingly prevalent in academe internationally, although the present study is one of the first examples of such an approach in South Africa. Drawing on contemporary interpretations of the theories of phenomenology articulated by Edmund Husserl and Maurice Merleau-Ponty, my position as a performer of art music in South Africa and the personal experiences I have had as a practitioner within this art practice are interrogated. While I was involved in a variety of practical engagements during the course of this study, all of which have contributed on some level to the final research product, the research design comprised five 'performance projects' that were designed to interrogate specific issues in contemporary art music performance practice in South Africa. The knowledge gained through these performance projects are presented together with theoretical work in this dissertation. An attempt is made to explicate these subjective experiences gained through practice and interrogate them through the application of social theory, ultimately translating them into an objective research outcome which is presented discursively. In this sense, the research project is approached according to a two-pronged strategy: subjective experiences generated through practice are examined through the use of social theory, ultimately resulting in a discursively articulated research outcome. I suggest in this dissertation that art music practice in contemporary South Africa has been and has remained a cultural territory largely inhabited by white South Africans. I further argue that this practice has shown little transformation since the end of apartheid in South Africa, in spite of the political, social and cultural transformation that has characterized the country since the beginning of democracy in 1994. Drawing on the theories of Homi Bhabha and Regula Qureshi, I posit that contemporary art music performance practice is providing an ideological counter-environment to predominant socio-cultural realities in post-apartheid South Africa. Qureshi suggests that the art music practice of a society 'constitutes a meaningful, cultural world for those who inhabit it'(Qureshi 2000: 26). Such a 'world within a society' is here interpreted as providing a counter-environment within which white South African identity can be articulated, negotiated and propagated.
AFRIKAANSE OPSOMMING: In hierdie proefskrif ondersoek ek die uitvoeringspraktyk van kontemporêre kunsmusiek in Suid-Afrika en die sosiale funksie wat dit vervul. Uitvoeringspraktyk word in hierdie studie geïnterpreteer as ‘n kunspraktyk of kulturele item wat uit drie 'rol-spelers' bestaan: uitvoerders van kunsmusiek, komponiste van werke in die kunsmusiek genre en gehore wat kunsmusiek assimileer en daarop reageer wanneer hierdie werke uitgevoer word. My eie posisie as uitvoerende kunstenaar het gelei tot die navorsingsvrae en navorsingsprobleme wat hierdie studie informeer. As sulks neem hierdie studie die vorm aan van ‘n praktyk-gebasseerde navorsingsstudie. Praktyk-gebasseerde navorsing is ‘n ontwikkelende soort navorsing wat internasionaal toenemend beoefen word. Hierdie studie is een van die eerste Suid-Afrikaanse voorbeelde van hierdie tipe navorsing in musiek. Die fenomenologiese teorieë van Edmund Husserl en Maurice Merleau-Ponty is gebruik om my persoonlike ervarings as uitvoerder van oorwegend kunsmusiek in Suid-Afrika te kontekstualiseer. My betrokkenheid by verskeie praktiese projekte gedurende die studietydperk, sowel as vyf praktiese projekte wat spesifiek vir die doeleindes van hierdie studie onderneem is, het deurgaans die studie geïnformeer. Hierdie projekte is aangepak om die bestudering van spesifieke aspekte van Suid-Afrikaanse uitvoeringspraktyk van kunsmusiek te fasiliteer. Die kennis wat deur middel van die praktiese werk ingewin is, is deurgaans in hierdie proefskrif met teoretiese werk versterk. Daar is gepoog om die subjektiewe ervarings van die uitvoerder aan te vul deur die toepassing van sosiale toerie, met die uiteindelike doel om hierdie ervarings in ‘n objektiewe en diskursief-artikuleerbare navorsingsresultaat te omskep. Die navorsing in hierdie proefskrif volg dus ‘n tweeledige benadering: subjektiewe, persoonlike ervarings wat deur praktyk gegenereer word, word deur middel van sosiale teorie benader, wat lei tot die uiteindelike navorsingsresultaat soos in die proefskrif aangebied. Ek stel dit in hierdie proefskrif dat kunsmusiekpraktyk in kontemporêre Suid-Afrika min bewyse van transformasie toon, ten spyte van die veranderende politiese- en sosio-kulturele omstandighede in Suid-Afrika sedert 1994. Dié praktyk word steeds gekenmerk deur deelname en ondersteuning vanuit die wit bevolkingsgroep. Die teorieë van Homi Bhabha en Regula Qureshi word gebruik om die argument te onderskryf dat kontemporêre kunsusiekpraktyk ‘n omgewing skep wat dien as ideologiese teenpool vir die sosio-kulturele realiteite van Suid-Afrika vandag. Qureshi is van mening dat ‘n gemeenskap se kunsmusiekpraktyk ‘n 'betekenisvolle, kulturele wereld skep vir die wat dit bewoon' (Qureshi 2000: 26). Hierdie 'wereld binne ‘n gemeenskap' word in hierdie proefskrif vertolk as ‘n 'ideologiese teen-omgewing' waarvandaan wit Suid-Afrikaanse identiteit geartikuleer, onderhandel en bevorder kan word.

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3

Weaver, Jeffery L. "The Role of Goals and Practice Steps in Piano Practice Assignments". Bowling Green State University / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1124721584.

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Chantler, John. "No Such Array : Developing a material and practice for electronic music performance". Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-4170.

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I have been designing and building a set of battery powered hybrid synthesizer speaker objects that can be deployed in any location without the need for any additional infrastructure. Composing for and performing with the resulting system has become the focus of my artistic practice. This project brings together my interests in composition, design, synthesis, politics and performance to investigate new methods for performing and experiencing electronic music. The work takes the idea of the impossibility of an objective listener as its starting position and generates environments that give agency to the listener to create their own sonic experience of a given space. It also engages in questions of power and how this practice might work throughits entanglement in various power relations as a minor practice by introducing and opening up the conditions of possibility for other actions. This thesis traces the aesthetic roots of my undertaking in the work of others, including Okkyung Lee, Rie Nakajima, Tetsuya Umeda, Marginal Consort, Tony Conrad and Luc Ferrari. It also details my own experience creating work for the GRM's Acous- monium, the series of decisions made in creating my own alternative speaker orchestra, and the practical process of situated learning2 that I have undertaken to develop a performance practice via three stagings: at Röda Sten Konsthall in Göteborg, within a pedestrian underpass running below the E4 national highway, and at Järvafältet Nature Reserve, north of Stockholm.

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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes". Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.

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Stuart, Greg. "A percussionist's practice". Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3355798.

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Thesis (D.M.A.)--University of California, San Diego, 2009.
Title from first page of PDF file (viewed July 1, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 125-129.

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Belletti, Anthony. "Trumpet Practice| Habits and Goals". Thesis, California State University, Long Beach, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262372.

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While spending many hours of vigorous practice, it is possible for trumpet musicians to develop bad habits which inhibit growth and discourage their inspiration. In a trumpet player’s daily life, their constant goal is to sound better in their practice routines than the day before. However, without setting realistic goals and dream goals, reaching a level of perfection can be daunting and many fundamental problems may occur such as lipping, tension, or insufficient air flow. Applying goals to everyday practice is essential for the fundamental and musical development of an aspiring trumpet player. According to Claude Gordon, practice should always be done with a goal in mind, just like constructing a tall building. First you dig the trenches. Next the forms are built. Then the cement is poured followed by the floors, sides and finally the roof. Too many students try putting the roof on before the foundation is built.

By examining the many fundamental problems trumpet players potentially face every day, I will express how to efficiently tackle these obstacles by describing how to install good practice habits while having a desired goal in mind. Second, I will discuss how humans are creatures of habit and how it effects daily practice. Alva Noe describes habits as environmental, in the sense that they are triggered by outside forces and they vanish in the absence of the appropriate environmental setting. In the case of practicing, a novice trumpet player might only practice in preparation for an event, instead of maintaining their skills every day. The methodology of trumpet pedagogy and educational studies will supply evidence-based theories on practice and observation, which will illustrate how habits and goal setting effects trumpet routines. I will also partake in field work by practicing and analyzing different trumpet method books.

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DelGizzi, Jesse D. "Zydeco Aesthetics| Instrumentation, Performance Practice, and Sound Engineering". Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10816360.

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This thesis examines aesthetics, sonic characteristics, and performance practices of zydeco music as heard in south Louisiana today. The first chapter describes the roles of instruments in a zydeco band, focusing specifically on the importance of the kick drum and the snare drum. It also details the evolution of the modern zydeco sound and how certain instruments, their modifications, and their timbres came to characterize the style especially prevalent among a group of artists who play for zydeco trail rides. The second chapter examines the tempo of modern zydeco music through quantitative analysis of musical recordings. This chapter also elucidates the use of beat patterns and drumming techniques within the genre, providing evidence for a current preference for the boogaloo beat over the on-the-one and the double beats. The third chapter discusses sonic goals and values of the sound engineer in zydeco music in live performance. This chapter also includes analysis of the frequency spectrum profiles of live zydeco recordings which depict how sound reinforcement practices, instrument modifications, and playing techniques discussed in the thesis are manifested in these performances. Research methods employed for this thesis include interviews with zydeco musicians, empirical analysis of live musical recordings, and examination of spectrograms.

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Hu, Shu-Chen 1968. "How to Practice in an Efficient Way". Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.

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Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.

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Shave, Thomas. "Hybridism : a practice-led investigation". Thesis, Keele University, 2013. http://eprints.keele.ac.uk/195/.

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Geist, Kamile. "Sources of Knowledge in Music Therapy Clinical Practice". Ohio University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1478173980933032.

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Prauscello, Lucia. "Singing Alexandria : music between practice and textual transmission /". Leiden : E.J. Brill, 2006. http://catalogue.bnf.fr/ark:/12148/cb40158730g.

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Jardaneh, Nisreen. "Exploring young piano students' perceptions of effective practice strategies". Thesis, University of Ottawa (Canada), 2007. http://hdl.handle.net/10393/27856.

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Whitmore, Gregory Xavier. "Inspired Practice| The Values of High School Band Directors". Thesis, Teachers College, Columbia University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10273951.

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This study investigated the ways in which early middle to mid-career high school band directors (minimum of five years of experience in the field) operationalize their values for music education through the many musical experiences, artistic opportunities, and educational curricular goals for their students. This study sought to investigate deeper than the operationalization of high school band director values to investigate the values themselves and their inspiration as principally drawn by participating music educators. Participants described that their current set of values for their high school band programs are forged through a variety of influences, most notably music educator identity, and the influences, inspiration, and experience imprint made during their high school and collegiate music career. Other external factors that determine the values of a high school band director are influences of collegiate and high school music educators, and socialization within the undergraduate cohort.

Data analysis found that music educator values undergo an evolution throughout the career in the classroom, especially as the music educator becomes more certain of his own system of values and music educator personhood; and distances oneself from previous exemplar teachers whose influences cast a long shadow early in one’s career. This study found that the values of high school band directors are established and conflict against the realities and expectations of school administration, community influences, and the norms and expectations of expected common curricular practices for high school bands in a particular region. This study found that high school band director values are under strain from internalized pressures by the band directors themselves, as well as pressures that stem from the need to have one’s work accepted by colleagues.

This study employed qualitative methodology centered by interviews of 13 research participants. The interview methodology employed was informed by the research methods of Kvale (2007), who espouses that the participant’s everyday world should be the focus of the researcher. Elements of case study methodology were also employed to determine emergent themes, as well as compare participant responses and high school band programs across the cohort of participants.

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Carey, Charles O. "Exposing and filling the need for an intermediate steel-string guitar method". FIU Digital Commons, 2006. http://digitalcommons.fiu.edu/etd/2045.

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This thesis demonstrates the need for and the importance of developing a comprehensive curriculum for the intermediate steel-string guitarist and provides a method to fill this need. The method is not specific to any one musical style and will serve to offer information necessary for the performance of music in any idiom. The lack of material presently available for the intermediate guitarist leaves them without proper musical guidance during this significant stage of their learning curve. The use of this method will help the prospective student to grow both as a guitarist and a musician.

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Bača, Trevor. "Magic Constructivism: Desiderata of a Musical Practice". Thesis, Harvard University, 2016. http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493325.

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This dissertation collects the scores to eight recent works: L’archipel du corps (2011) for flute, guitar, accordion and percussion; Traiettorie inargentate (2013) for cello; Krummzeit (2014) for seven players; Ins Wasser eingeschrieben (2014) for two violas; Al-kitab al-khamr (2015) for chamber orchestra; Myrkr (2015) for bass clarinet; Akasha (2015) for string quartet; and Ikribu (2016) for bass clarinet, violin, viola and cello. The scores are ordered chronologically by their date of composition and given in their entirety as the numbered chapters of the dissertation. An introduction precedes the scores. The contents of the introduction supplements the scores included included here with short descriptions of all sixteen works in my catalog to date.
Music

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Emch, Derek Z. "Pathways to the Practice of Free Improvisation". Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1604482209158012.

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Chung, Hee. "Igor Stravinsky's three movements from Petrushka : an analysis of performance practice". Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1260196469.

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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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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy". Thesis, Anglia Ruskin University, 2014. https://arro.anglia.ac.uk/id/eprint/578535/1/PhD%20thesis%20Helen%20Loth%20for%20ARRO.pdf.

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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.

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Loth, Helen. "An investigation into the relevance of gamelan music to the practice of music therapy". Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/578535/.

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This study investigates the use of Indonesian gamelan with participants who have special needs or with special populations, and considers what the playing of gamelan music has to offer music therapy practice. The gamelan is an ensemble of instruments on which the traditional music of Indonesia is played, consisting of mainly tuned and un-tuned percussion instruments tuned to four, five or seven tone scales. Gamelan are being increasingly used for music activities with participants who have special needs, such as learning disabilities, mental health problems or sensory impairments, and with special populations, such as prisoners. Whilst aims are broadly educational, therapeutic benefits are also being noted. There is little research into the effectiveness of this use of gamelan; the therapeutic benefits have not been researched within the context of music therapy. As an experienced music therapist and gamelan musician, I considered that investigating the potential for using gamelan within music therapy would produce new knowledge that could extend the practice of music therapy. Various qualitative methods within a naturalistic paradigm were used to investigate current and past practice of gamelan playing with special needs groups and to identify the therapeutic benefits. Semi-structured interviews were undertaken with gamelan tutors working in this area and a music therapy project using gamelan with a group of children who had learning difficulties was undertaken by the author. Using a thematic approach to the analysis of data, the key features of gamelan playing which have relevance for music therapy practice were identified. Gamelan playing was found to have a range of therapeutic benefits which can be used intentionally by a music therapist to address therapeutic aims. It was found firstly that the playing of traditional gamelan music can be used for specific therapeutic purposes and secondly, that the music and instruments can be adapted and used within various music therapy approaches and for participants with a range of disabilities. A set of guiding principles are also proposed for the use of this new music therapy practice.

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Telesco, Paula Jean. "Enharmonicism in theory and practice in 18th-century music /". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784688577955.

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Prewitt, Spencer. "A Comparison of Teacher-Guided Instruction and Self-Guided Student Practice Strategies". Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1362852359.

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Lee, Chie Tsang Isaiah. "'Inbetweenness' : transcultural thinking in my compositional practice". Thesis, University of Huddersfield, 2018. http://eprints.hud.ac.uk/id/eprint/34636/.

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This thesis explores the notion of ‘in-betweenness’ through transcultural thinking in my compositional practice as a commentary to my portfolio of compositions. My thinking has been inspired by Tim Ingold’s philosophical idea of ‘wayfaring’ as a way to navigate processes by which insights emerge from collaborative investigations. My portfolio makes an original contribution to music by engaging with Malaysian Chinese and Indigenous cultural materials in fresh ways with a focus on music and dance collaborations with Indigenous Malaysian references, aural/oral traditions in Hakka poetry, and traditions of pattern making related to Borneo bead work. These projects have enabled me to deepen my experience and understanding of notions of entanglement and of how highly diverse elements can be unified through collaboration, presenting a series of case studies that also vary in style and the modality of discussion used. The discussion focuses around four main aspects related to intercultural exchange and collaboration: the value of negotiation, the meaning of ambiguity, strategies for navigating cultural meanings, and processes of cultural and musical transmission. Through these, I gain insights into the perception and practice of cultural exchange to find a new creative threshold for opening up new cultural dialogues in my compositional work.

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Tarr, Christopher J. "Practising jazz performance: An investigation into the process that underpins optimal instrumental practice in the jazz idiom". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1921.

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Little formal research has been undertaken into the processes associated with jazz improvisation, particularly those associated with practising to become an elite jazz improviser. This study seeks to understand the role of instrumental practice, particularly physical practice strategies and the associated mental states, in the development of jazz improvisers. Interviews were conducted with six improvisers of various ages, instruments and backgrounds. The study identified a number of strategies specific to jazz practice that differed from traditional practice strategies described in Western art literature, particularly in relation to the importance of the ear-to-instrument connection. Accordingly, the study sets out a series of recommendations relating to practice for those aspiring to become master jazz performers.

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Colbourne, Rick. "Practice, power and learning in UK recorded music companies". Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/240608.

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This thesis adopts a practice-based approach to understanding how power, knowledge and knowing intermingle in organizations to facilitate/constrain individual access to opportunities for knowing-in-practice (learning). It explores how organizational mechanisms and technologies of regulation (re)construct and (re)produce organizational dimensions of knowledge as power/knowledge resources by which intermingling modalities of power are enacted to continuously sanction and (re)constitute individual meanings and identities.

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Kolthammer, Stacey C. "The Effect of Instruction on Eighth Grade Band Students' Understanding of Practice". Cleveland, Ohio : Case Western Reserve University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=case1232661199.

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Thesis (M.A.)--Case Western Reserve University, 2009
Title from PDF (viewed on 2009-12-22) Department of Music Education Includes abstract Includes bibliographical references Available online via the OhioLINK ETD Center

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Cain, Timothy. "Mentoring trainee music teachers". Thesis, University of Southampton, 2006. https://eprints.soton.ac.uk/192637/.

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This study analyses the relationships between Secondary school music trainee teachers and the mentors who are primarily responsible for training them to teach music. The methodology was an in-depth collective case study of a sample of trainee music teachers and their mentors, adopting primarily the methods of non-participant observations and interviews. The study is located within a review of pertinent theories of mentoring and an analysis of empirical research. This analysis compares studies of ITT mentoring in different contexts, and demonstrates that, despite the diversity of mentoring practice, research has produced findings which are consistent across two or more studies. The collective case study consists of five individual cases ofmentoring relationships, each of which is presented so as to preserve its individuality. The talk in meetings between trainees and their mentors is then analyzed drawing on Mercer's (1995) typology of classroom talk as exploratory, cumulative and disputational. The analysis shows that exploratory talk has an underlying structure which is missing in cumulative and disputational talk. Analysis ofthe talk also reveals three further types of conversation between mentors and their trainees which are characterised as solo conversations, short conversations and parallel monologues. The study has two major conclusions: first, that in mentoring conversations exploratory talk is more likely to promote productive reflection than other types of talk, and second, that the potential for exploratory talk to promote reflection may not be fully realised by music mentors.

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Tacke, Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur Tacke Daniel Arthur. "Resistance in compositional practice three mediatory works /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1453233.

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Thesis (M.A.)--University of California, San Diego, 2008.
Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.

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Knight, Peter Harold John. "The Intersection of Improvisation and Composition: A Music Practice in Flux". Thesis, Griffith University, 2011. http://hdl.handle.net/10072/367402.

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This exegesis traces the development and recording of a series of works for solo trumpet/laptop electronics, and medium sized ensemble integrating improvisation and live electronic processing. Through a reflective and intersubjective account of the creative process it develops a cultural context for this activity based on my experience as a trumpeter/composer living and working in Australia while also taking account of broad movements in contemporary music particularly in improvised forms. In addition, it 'zooms in' on my personal biography focussing on my development as a musician through experiences in brass bands and school orchestras to my discovery of jazz and the emergence of my desire to move beyond the idiom. This sheds light on specific aspects of Australian music culture and practice and offers a rich backdrop for listening to the music created during the course of this research. Following a practice-‐based research model, this exegesis documents a series of workshop sessions in mainly solo and duo formats with a focus on improvisation and experimentation. From these sessions the raw materials for the composition phases of my projects are drawn and through this development process, along with the reflection detailed herein, I investigate how composition and improvisation intersect in my practice as composer and improvising trumpeter.
Thesis (Professional Doctorate)
Doctor of Musical Arts (DMA)
Queensland Conservatorium of Music
Arts, Education and Law
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Vinci, Teresa. "Performance practice in Hungarian folk music and its relationship to the Style Hongrois". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2019. https://ro.ecu.edu.au/theses/2265.

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This study investigates style and performance practice within the oral traditions of Hungarian folk music, and explores intersections with the nineteenth-century idiom style hongrois. Interviews, lessons, and workshops were undertaken as part of a practice-based immersive research experience, and comparisons with the style hongrois made via analysis of scores and recordings of Jeno Hubay (1858-1937). The research strives towards an ‘Historically Informed Performance’ specific to these styles, and explores how they can inform each other. Findings are presented through a dissertation and a CD recording “Never Far Away…” comprising the researcher’s violin performance as leader of an Hungarian folk band.

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Cahn, Dan. "The effects of practice procedure and task difficulty on tonal pattern accuracy". Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/cahn%5Fdan/index.htm.

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Barişeri, Nurtuğ. "Primary music teacher education in England and Turkey". Thesis, Durham University, 2000. http://etheses.dur.ac.uk/4287/.

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This research investigates the primary student teachers' music education in England and Turkey. It is aimed to determine the generalist PGCE and specialist B.Ed students' attitudes and confidence towards primary music teaching before and after their teacher education courses. Similarly it investigated the 3(^rd) and 4(^th) year generalist student teachers' attitudes and confidence towards primary music teaching. Pre and post course questionnaires, interviews and informal observations were used for the study in England and a single questionnaire was applied to Turkish students. Factor analysis was used to construct a valid post-course questionnaire, which was also used to interpret some of the findings. English students' attitudes towards music teaching are based on three factors: (I) confidence in pedagogical content knowledge, (II) beliefs about value of music, (III) enjoyment of teaching music. Turkish students' responses on attitude statements created four factors: (I) confidence in content of music, (II) teaching role and beliefs to the value of music, (III) confidence in pedagogy, (IV) enthusiasm for music teaching. Turkish students tended to separate their pedagogical confidence from their subject knowledge confidence, whereas these aspects were merged for English students. In contrast to the Turkish teacher education course, the PGCE course increased students' confidence in their pedagogical knowledge and in creative activities at the end of their course. 3(^rd) year Turkish students were more confident in their musical and teaching knowledge and had more positive beliefs about the value of music education than the 4(^th) year students. Lack of time for music teaching practice and class management problems were shown as the main obstacles to the development of students' confidence to teach music further. The main implication for Turkish courses is to give more emphasis on pedagogy and creative activities for the education of students and English students should be given more chance to teach music during their teaching practice. Key Words: primary music education, specialist-generalist student teachers, attitude, confidence, and teaching practice.

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Bucar, M. "Aesthetic negativity and choreographic practice". Thesis, City, University of London, 2015. http://openaccess.city.ac.uk/15320/.

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At the core of this doctoral submission is a portfolio of three of my recent choreographic works(all created between 2011-2014), complemented by a text, which attempts to formulate a theoretical approach for explicating the works, through the lens of Theodor Adorno’s theory of the inherent negativity of modernist artworks. Such an approach places Adorno’s ideas at the very centre of the analytical view presented here, albeit via the semiotic (re)articulation of these same ideas in recent work by Christoph Menke. This, in turn, draws on earlier work done within aesthetic semiotics by Viktor Shklovsky, through which it is hoped that insight, clarification, and historical contextualisation will be forthcoming, whilst also casting an eye on the contemporary situation within arts making. The thesis is therefore a theoretical analysis of aesthetically negative philosophical thought within choreographic practice, but simultaneously it is an attempt to point to new knowledge; namely an enhancement of Menke's semiotic reading of Adorno, extended from the field of literature from which it originates, and brought into the field of dance, movement, and choreography. In addition to this, a vital second aspect of my approach will be a consideration of the extra - semiotic aspects of dance, read through a phenomenological understanding of kinaesthesia, and how our understanding of movement and choreography is rooted in basic aspects of our perceptive capabilities. Prior to the introduction, the beginning of this thesis, there is a presentation of factual information regarding the production aspects of the performances in a brief Foreword. The structure of the thesis is then as follows. The Introduction offers a short historic overview of Adorno’s theory of ‘aesthetic negativity’, and this is followed by three Chapters, titled: (1) Object and Subject, (2) Recombination, and (3) Projection. These three notions are not only essential to my work as methodological tools, but they also provide important references, connections and bilateral correspondences to similar concepts within Adorno’s aesthetic theory, thereby clarifying the relationship between theory and practice in my work. Chapter Four aims to re-inspect the works comprising The Urban Series in a similar fashion, while also placing their specific context within external, everyday and urban environments under critical examination.

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Luebbers, Johannes. "Cheek to cheek: Transforming a compositional practice through collaboration". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2021. https://ro.ecu.edu.au/theses/2445.

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Throughout the history of art music there are few examples of collaborations between composers resulting in multi-authored works. Collaboration in music performance and other artistic endeavours however is well established, as is the benefit of collaboration in other fields of study. This research investigates collaborative precedents throughout the history of art music and builds on these, exploring what happens when composers collaborate. Specifically, through a practice-led methodology, 10 compositional projects are developed through collaboration with different groups and individuals. Specific methods emerge through practice, with insight gained from each project shaping the next, leading to a reiterative, reflexive research process. This culminates in a series of collaborative models for composers resulting in 10 distinct artistic projects, demonstrating the creative potential of collaborative composition. These results suggest that collaboration between composers is under-explored and has the potential to contribute new and novel approaches to composition. Both the resulting creative work and collaborative models may serve as frameworks for composers to increase collaborative work in their own practice.

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Messick, Emily Irene. "The Effects of Mindfulness Practice with Music Listening on Working Memory". Scholarly Commons, 2019. https://scholarlycommons.pacific.edu/uop_etds/3634.

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The purpose of this experimental study was to investigate mindfulness strategies and their influence on working memory. The potential role of music in facilitating mindfulness practice is explored. Various listening exercises were investigated along with their influence on working memory (i.e. attention control). Thirty-four individuals were randomly assigned to participate in one of four listening groups: 1) mindfulness with music, 2) mindfulness without music, 3) music only, and 4) silence. Thirty-four participants engaged in a computerized digit-span task before and after the listening exercise to assess pre- and post-test working memory performance. Thirty participants were included in data-analysis due to technical errors in data collection. Differences between listening exercises were explored and comparisons were made between mindfulness, non-mindfulness, music, and non-music based exercises. Two-tailed independent samples t-tests found no significant differences in working memory when comparing mindfulness versus non-mindfulness and music versus non-music based exercises. An Analysis of Variance (ANOVA) indicated no significant differences in working memory for any of the listening conditions. Results call for further examination of control variables and methodology to explore the role of music listening in mindfulness practice. Implications for further research and contributions to music therapy and music education are considered.

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Harrison, William Brady II. "FINDING THE “TECH” IN TECHNIQUE: A PEDAGOGICAL APPROACH TO ELECTROACOUSTIC CONCERT PERCUSSION PERFORMANCE PRACTICE". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/139.

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Premise and Objectives In our increasingly technology driven society, the impact of technology touches nearly every aspect of our lives in some form or another. This has been acutely felt within the world of percussion, with electroacoustic works representing perhaps the most rapidly expanding area of concert percussion over the last twenty years. Electroacoustic music couples electronic technology with traditional acoustic instruments and/or performance practices. Broadly, this paper outlines a systematic approach to teaching electroacoustic performance practice, based on elements found in a cross-section of percussion literature. In using such an approach, not only does each student become more capable of dealing with this growing body of literature, but also the process of educating these students becomes more efficient for the teacher. As a result, delivery becomes more effectively standardized, and resources can be shared more efficiently among multiple students who may be studying different types of electroacoustic repertoire. Method To organize this exploration, three main genres of electroacoustic repertoire for percussion are compared: prerecorded soundscape, live processing, and electronic pieces. This comparison illuminates the tools and techniques that are relevant to each type of repertoire and reflects not only the narrower focus of electroacoustic percussion, but also the broader goals of applied percussion instruction in the context of a “total” percussion program. Each classification is explored by addressing its critical elements using prime examples from the relevant standard repertoire. For the first classification of works, tape pieces, the project includes discussion on signal flow, balancing electronic and acoustic sound sources, an introduction to digital audio workstations (DAWs), and monitoring techniques. Two primary examples of the repertoire are used to contribute to this discussion; Javier Alvarez’s Temazcal for maracas and tape, and Brian Blume’s Strands of Time. Live processing works present increased challenges with concepts, including sound reinforcement, recording production, how to edit and creatively manipulate sound both in post-production and live, and detailed concepts of signal flow, often including MIDI protocol. To explore the concepts specifically relevant to live processed works, Nigel Westlake’s classic work, Fabian Theory, for amplified marimba and three toms, is offered. Electronic works give students further opportunity to explore MIDI mapping, patch and parameter changes using both hardware and software, and sometimes sound design. In this context, there is a brief exploration of Steve Reich’s Violin Phase. Finally, an exploration of Hans Werner Henze’s, Prison Song demonstrates how all of this technology and technique can come together in combination works. The work requires live sound reinforcement, pre-recorded soundscapes, separate monitoring, live processing, and live MIDI controllers. The paper closes with a brief summary of extra pedagogical considerations, including resource management, pedagogical philosophy, and further implications. Conclusion By examining the logical steps of pedagogically developing through the different broad categories of electroacoustic music, with an emphasis on its reflection of broader liberal values and critical applied analysis, it is believed that this research could yield a model for a more thoughtful approach for applied percussion teachers.

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Porter, Christopher. "High theory, low practice : words and music in Renaissance France". Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315176.

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Schwalbach, Burkhard. "J.S. Bach at the coffee house : music as edifying practice". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573677.

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This thesis proposes a new critical perspective on Bach's Collegium musicum and its performances at a Leipzig coffee house. Based on a range of fresh literary, architectural, and administrative sources, I argue that coffee houses in Bach's time were highly prestigious, if often controversial performance-venues. As a cultural sphere, they were guided by a neo-humanist ideal, known as 'useful edification' (nutzliche Erbauung) which has not been recognised by scholars so far. Yet, applied to musical practice; the notion of useful coffee-house edification can provide a fruitful paradigm for rethinking the reception of Bach's music in its secular performance-contexts. As the contents of several coffee-house periodicals from the early eighteenth century suggest, edifying thought (also described as pondering, or Nachsinnen) was widely understood as a combination of critical and associative thought, which closely resembled Bach's own preoccupation with exploring musical ideas as rhetorical inventiones. Seen this way, a rich reception context emerges that, as a historical web of anthropological meaning, can shed new light, for example, on the socio-cultural context of Bach's keyboard music that was published under the title of Clavier-Obung. In addition, it can reveal how Bach's musical inventions were often combined with further allegorical signs to result in rich music-dramatic, and arguably also emblematic tableaux in a range of secular cantatas. A newly-recovered document relating to Bach's cantata Blast Lermen ihr Feinde (BWV 20Sa) suggests, for example, that the dramma per musica was performed as part of a highly theatrical event that staged an emblematic representation of the coronation of August III as Polish King in 1734. But recognising Bach's reliance on emblematic allegories can also yield new perspectives on, for example, Hercules at the Crossroads (BWV 213) and The Contest between Phoebus and Pan (BWV 201). Viewed as 'useful' and 'edifying' performances, I argue that their music-dramatic symbolism articulated a rich counterpoint of religious, secular and political meanings that can be linked to a corresponding variety of pragmatic, artistic and satirical agendas.

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Compton, Callie Elise. "What Do You Mean, "Practice"? Theorizing the Writing-Music Connection". TopSCHOLAR®, 2016. http://digitalcommons.wku.edu/theses/1608.

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Researchers in the field of composition studies have frequently made allusions to musicians when they’ve discussed the role of practice in gaining skill. In doing so, however, they’ve risked making speculative rather than testable claims and separating composition studies from recent insights on practice from other disciplines such as education and music psychology. These fields, I argue, offer testable frameworks with which composition instructors and scholars can teach and study writing practice. Such frameworks are necessary because composition researchers need to supplement qualitative studies of writers and writing with quantitative data to generate replicable tests of teaching methods that may benefit practicing writers. This thesis draws on prior research in composition studies to illustrate the context of its central argument. It then breaks down some of the key assertions about practice that support this context before introducing frameworks from other disciplines that will allow composition researchers to replicate studies of effective writing practice instruction in the first-year college writing classroom. These frameworks or models of practice instruction include self-regulated strategy development and practice sessions conceived as stages of error and mistake management. Supplementing these models are descriptions of a few key activities built on these frameworks for students to practice writing in and outside the classroom. Students need more than instruction in crafting better writing products to become more effective revisers and more expert writers. They also need explicit instruction that teaches them how to engage effectively in repeated, structured practice that imparts the tools they learn to solve writing problems with staying power and flexibility. This instruction is about more than handy tips or exercises; it’s about changing students’ and teachers’ assumptions about writing’s purpose outside the classroom.

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Nystel, David J. "Harmonic Practice in the Guitar Music of Manuel M. Ponce". Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc500943/.

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This investigation examines the evolution of harmonic practice in the guitar misic of the Mexican composer, Manuel M. Ponce (1882-1948). Ponces harmonic practice evolved from a simple romantic style influenced by Mexican folksong to a more complex idiom influenced by Impressionistic harmony. This study explores the change in Ponce t s harmonic practice in two ways. First, general features of Ponce's harmonic vocabulary are surveyed in excerpts from various guitar works written over a twenty year period. Second, a work from Ponce's mature style--Theme Varie et Finale-is examined in detail. Chapter III gives a survey of harmonic materials in this work, while Chapter IV reveals aspects of its structural coherence.

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Burghart, Rice Heike S. "Music for Organ and Electronics: Repertory, Notation, and Performance Practice". University of Cincinnati / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1428047354.

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Thomerson, John P. "Parody as a Borrowing Practice in American Music, 1965–2015". University of Cincinnati / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1510063658786716.

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Scherler, Kathy L. "Elementary music teachers instructing English language learners: Reflection on practice". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4933/.

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This qualitative study investigated four monolingual, English-only speaking Caucasian elementary music teachers and their reflections regarding instruction of English language learners (ELL). The purpose of this multiple case study was to investigate the teaching practice and curricular decisions of elementary music teachers who instruct Hispanic ELL students. The investigation was conducted during a nine-week period, and data collection included classroom observations, phenomenological interviewing, and teacher audio journals. None of the teachers had prior education or pre-service preparation in teaching music to ELL students. The major theoretical base from which the study was developed was the reflective teaching theory of Donald Schön (1983). The main research question was: "What are the participating teachers' reflections about their curricular and pedagogical decisions when teaching ELL students?" Following a description of the elementary music teachers' reflections on practice with ELL students, the study revealed that the majority of elementary music teachers had a lack of preparation and ELL music curriculum, and negative perceptions of the placement program for ESL students. Despite these factors, the teachers made attempts to include ELL students in all music activities. This study showed that while one teacher accommodated specifically for the ELL students' learning, three out of four teachers did not. This study also suggests that music is a subject by which strong interactions between peers, opportunity for language expansion, and other factors occur which have positive correspondence to recommended ELL instructional strategies. A cross-case analysis revealed that the life history and experience of the elementary music teachers had an influence on the teachers' awareness of ELL students. The analysis suggests a relationship between teacher awareness and accommodation. The study also recognized the need for further inquiry regarding ELL students and issues related to their school placement. This study has implications for music education research including suggestions for music teacher preparation in working with ELL students, ELL music resources and curriculum, and pre-service and in-service ELL music preparation.

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Kagin, Roberta Stewart. "The Relationship Between Music Therapists' Spiritual Beliefs and Clinical Practice". Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/95327.

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Music Therapy
Ph.D.
This study examined the relationship between music therapists' spiritual beliefs and their clinical practices. A survey was sent to 4243 members of the Certification Board for Music Therapy, using an electronic program, SurveyMonkey. There was a return rate of 32%. The survey contained two parts; Part I was the Music Therapy Questionnaire, and Part II was the Spiritual Involvement and Beliefs Scale (SIBS). Data were analyzed using a combination of Kruskal-Wallis Anova, Mann-Whitney U, and Spearman Rho correlation tests to analyze both the relationships as well as significant variations in responses between the survey questions and the SIBS scores. Research questions focused on the relationships between the music therapists' spirituality scores (SIBS) and their demographics, their reported spiritual beliefs and practices, and their clinical practices. Statistical analyses revealed significant differences in the relationship between SIBS scores and gender, age, and years of professional experience; however, there were no significant differences between SIBS scores and education level, regions of AMTA, or client populations served. Significant correlations were found between SIBS scores and music therapists' personal appraisal of their own spirituality, their use of music as a spiritual experience, the use of music in their own personal practice, and their belief in the importance of some type of contemplative experience in their own personal lives. Further statistical analyses also revealed significant correlations between music therapists' SIBS scores and the following clinical practices: 1) the role of spirituality as a sustaining force in their music therapy career, 2) their spiritual ideals as exemplified in their work, 3) attention to their own spirituality in their role as a music therapist, 4) their spiritual growth as a music therapist, 5) the classifying of their work as a spiritual endeavor, 6) their choice of music therapy as a profession. Additional positive correlations were found between music therapists' SIBS scores and the reported influence of spirituality on their choice of population, their comfort in addressing clients' spiritual needs when they are similar to their own, and their comfort in addressing clients' spiritual needs when they are different from their own.
Temple University--Theses

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Alvim, Diogo. "Music through architecture : contributions to an expanded practice in composition". Thesis, Queen's University Belfast, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.703888.

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This research is an inquiry into how architecture can inform the practice of composition. As an architect and composer, I try to find strategies for musical composition In architectural practice and thought, by reframing and confronting concepts from both disciplines. My research aims at an expanded practice (and analysis) of musical creation that transverses different conceptions of space-from the score based pitch space to the social and political spaces of music's production, performance and reception. This practice based PhD research consists of a portfolio of nine works that were developed in a dialectical relation to these ideas. The works are presented in a framework composed of five conceptual tools used to articulate music and architecture. These are; Material, Site. Drawing, Programme and Use. With the notion of Material. I explore how the acoustic behaviour of a performance space, or of a performatlve device' affects the musical work. Architectural materials become musical ones as they are implicated in the listening experience. The discussion about Site brings to music the notions of place. the local, and everyday life, embracing soundscapes so many times excluded from musical discourse. Musical sites are also architectural sites, always related to their present environment, and their everyday contlngenclt;ls. Drawing Is a tool for developing ideas, but also the main mediator between architect and builder. or composer and performer. Programme exposes the constraints and conditions of the creation process, while also revealing the sociopolitical relations between musicians and audiences, institutions and composers, composers and performers. Programming as framing can be a platform to expand what the work concerns. Through a consideration of Use, the work becomes dispersed in a pJurality of agents that converge in a useful event. Thus composition. as architecture, moves from being about conditioning design to designing conditions where musical events may happen.

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Mullen, Philip. "Challenging perceptions : community music practice with children with behavioural challenges". Thesis, University of Winchester, 2017. http://repository.winchester.ac.uk/686/.

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Over the past decade, and particularly since the publication of The National Plan for Music Education (DfE, 2011), there has been increasing opportunity for community musicians in England to work with young people with challenging behaviour in Pupil Referral Units (PRUs) and in Emotional and Behavioural Difficulties (EBD) Units. This study identifies and discusses six key elements that influence community music delivery in these settings. These elements are: what the children bring, organizing structures, ideas and materials, focus and energy, reflection and reflexivity and the intentions of the leader. These elements emerged from the data collected through the study. This study combined action research and grounded theory. It employed a number of data collection methods, including participant observation, semi-structured interviews, focus group work and a literature review. The environment of PRUs and EBD Units are based on formal schooling but are both volatile and academically ineffective (Taylor, 2012). Community musicians, who frequently work outside the curriculum, need insights and understandings beyond traditional educational practice if they are to be successful in engaging children in these environments. Community music practice addresses not only musical but also personal and social development. This, and the nature of PRUs, and of the children within them, makes the work complex. Through understanding the role all six elements can play in shaping the child’s experience, the community musician can use this knowledge to develop programmes that address these children’s complex needs, allow them to place themselves at the centre of their own learning and encourage their ownership of their own creative expression. This can give them a sense of meaning for their own often troubled histories and may offer them a pathway to reconstructing their own self concept away from conferred negative identities as excluded children towards seeing themselves as learners and musicians.

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Stephensen, Paul. "Designing ePortfolios for music postgraduate study : a practice-led inquiry". Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/35751/1/Paul_Stephensen_Thesis.pdf.

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In this research I have examined how ePortfolios can be designed for Music postgraduate study through a practice led research enquiry. This process involved designing two Web 2.0 ePortfolio systems for a group of five post graduate music research students. The design process revolved around the application of an iterative methodology called Software Develop as Research (SoDaR) that seeks to simultaneously develop design and pedagogy. The approach to designing these ePortfolio systems applied four theoretical protocols to examine the use of digitised artefacts in ePortfolio systems to enable a dynamic and inclusive dialogue around representations of the students work. The research and design process involved an analysis of existing software and literature with a focus upon identifying the affordances of available Web 2.0 software and the applications of these ideas within 21st Century life. The five post graduate music students each posed different needs in relation to the management of digitised artefacts and the communication of their work amongst peers, supervisors and public display. An ePortfolio was developed for each of them that was flexible enough to address their needs within the university setting. However in this first SoDaR iteration data gathering phase I identified aspects of the university context that presented a negative case that impacted upon the design and usage of the ePortfolios and prevented uptake. Whilst the portfolio itself functioned effectively, the university policies and technical requirements prevented serious use. The negative case analysis of the case study found revealed that Access and Control and Implementation, Technical and Policy Constraints protocols where limiting user uptake. From the semistructured interviews carried out as part of this study participant feedback revealed that whilst the participants did not use the ePortfolio system I designed, each student was employing Web 2.0 social networking and storage processes in their lives and research. In the subsequent iterations I then designed a more ‘ideal’ system that could be applied outside of the University context that draws upon the employment of these resources. In conclusion I suggest recommendations about ePortfolio design that considers what the applications of the theoretical protocols reveal about creative arts settings. The transferability of these recommendations are of course dependent upon the reapplication of the theoretical protocols in a new context. To address the mobility of ePortfolio design between Institutions and wider settings I have also designed a prototype for a business card sized USB portal for the artists’ ePortfolio. This research project is not a static one; it stands as an evolving design for a Web 2.0 ePortfolio that seeks to refer to users needs, institutional and professional contexts and the development of software that can be incorporated within the design. What it potentially provides to creative artist is an opportunity to have a dialogue about art with artefacts of the artist products and processes in that discussion.

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Bruel, Stephen. "Nostalgia, authenticity and the culture and practice of remastering music". Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/129568/2/Stephen%20Bruel%20Thesis.pdf.

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This study on remastering practice explores the creation of digital replicas from existing musical artefacts and the impact this has on notions of culture, authenticity and nostalgia. It also examines the perceived sonic differences between remastered and original hi-fi recordings. The research then identifies and applies the remastering process used to produce digital remasters of iconic Australian band Sunnyboys to a selection of demo recordings from lesser-known Australian bands who emerged from a similar genre, time and place as Sunnyboys, in order to determine how nostalgia, authenticity and the culture and practice of remastering music is enacted in lo-fi recordings.

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Kirkwood, Sandra Jane. "Frameworks of culturally engaged community music practice in rural Ipswich". Thesis, Griffith University, 2009. https://eprints.qut.edu.au/132103/2/132103.pdf.

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This study is a critical reflection on two music projects that I conducted in my home area of Ipswich, Australia, prior to undertaking this research. The music projects involved participatory action research to investigate the music heritage and culture of the rural Ipswich region. The purpose of this study is to review and analyse the creative processes that I used in the rural Ipswich music projects in order to develop suitable practice frameworks for similar projects in future. The first music project was a collaborative investigation of the music history of Purga in rural Ipswich (2003-2005). Local people and those who used to live in the area were invited to come back to share memories of the music from the area with one another. People collaborated creatively: This allowed me to write The Purga Music Story and Harold Blair (2005), an inter-generational community education package. In 2003, we established the Purga Music Museum as a meeting place where the music heritage and culture of our neighbourhood is performed and displayed. The second music project (2006) was a study of contemporary music in rural Ipswich that resulted in community consultation and the development of a Music Action Plan for the area. I continued facilitating community music in rural Ipswich, as the curator of the Purga Music Museum, until 2008. Both music projects presented different challenges in the establishment of processes that would be effective for the needs and interests of people from various cultural groups. The work was fraught with complex decisions and ethical dilemmas about representation and music cultural heritage management because our neighbourhood previously contained the Purga Aboriginal Mission (1915-1948). The findings therefore relate to the struggles of the ‘Stolen Generation’-- Aboriginal and Torres Strait Islander people who were taken away from their families and forced to live in government-controlled residential situations. New, respectful approaches had to be found, conducive to the health and well-being of all concerned. For this reason, participatory action research methods were developed and a ‘Community of Discovery’ approach was used. Throughout this study, I investigate issues that arose as people told their music stories, and passed on music heritage and culture from one generation to the next. The key question is “What are appropriate frameworks of culturally engaged community music practice for rural Ipswich?” This study also draws on findings from the music projects to address the sub-questions, “How did community music practice function in the past in rural Ipswich?” “What is the current situation regarding contemporary community music practice in rural Ipswich?” and “What can be done to enhance future community music practice for rural Ipswich?” Aspects of music and health practice complement each other in this study. As a dual qualified music and health professional, I draw on expertise from both of these areas. Ethnographic methods were used to record and review the findings from each music project. The analysis is grounded in review of literature and other sources, creative display and performance, analysis of music history, community consultation, and critical reflection on my own community music practice. Finally, this evidence-based process of professional reasoning leads to the development of appropriate practice frameworks that transform the way that I intend to deliver services in future, and will hopefully inspire others. The thesis has five parts. The context and rationale for the research are outlined in Part 1. This is followed by description of the two music projects in Part 2. Part 3 is an exploration of how my music practice is situated in relation to scholarly literature (and other sources) and outlines the chosen theoretical constructs or models. This prepares for critical analysis and discussion of specific issues that arose from reflection on practice in Part 4. The conclusions of the research, presented in chapter 9, outline the creative processes, underlying principles, and the philosophy of my practice. The study concludes with an epilogue, which is a consideration of the present situation and suggested future directions for service provision and research.

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