Rozprawy doktorskie na temat „Non-musical”
Utwórz poprawne odniesienie w stylach APA, MLA, Chicago, Harvard i wielu innych
Sprawdź 50 najlepszych rozpraw doktorskich naukowych na temat „Non-musical”.
Przycisk „Dodaj do bibliografii” jest dostępny obok każdej pracy w bibliografii. Użyj go – a my automatycznie utworzymy odniesienie bibliograficzne do wybranej pracy w stylu cytowania, którego potrzebujesz: APA, MLA, Harvard, Chicago, Vancouver itp.
Możesz również pobrać pełny tekst publikacji naukowej w formacie „.pdf” i przeczytać adnotację do pracy online, jeśli odpowiednie parametry są dostępne w metadanych.
Przeglądaj rozprawy doktorskie z różnych dziedzin i twórz odpowiednie bibliografie.
Johnson, Daniel S. "Musical Motif Discovery in Non-Musical Media". BYU ScholarsArchive, 2014. https://scholarsarchive.byu.edu/etd/4081.
Pełny tekst źródłaSebring, Ellen Irene. "Musical form in non-narrative video". Thesis, Massachusetts Institute of Technology, 1986. http://hdl.handle.net/1721.1/77318.
Pełny tekst źródłaMICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH.
Includes bibliographical references (leaves 75-76).
"Musical Form in Non- Narrative Video" explores musical structure as a model for visual form over time, specifically in the creation of artistic video. Video is a medium in which sound and image coexist at the source as electronic signals, offering new possibilities of abstract synesthesia. Forms in which neither sight nor sound dominants facilitate a sensory experience of the content. A musical model for abstract form supports an effort to free video from the forward-impelled, linear narrative; to create a form which can be experienced many times on multiple levels. Musical parameters such as meter, dynamics and motivic development are correlated to visual parameters. Their application in my own videotapes is analyzed. Experimental form-generated pieces are outlined. "Aviary" and "Counterpoint" are video scores which present two different approaches to music image composition. A score system in which video and audio can be synchronized via SMPTE Time Code and MIDI Digital Audio Code is examined. Increasing videodisc distribution opens an avenue for serious artistic applications of music- image composition for a home, concert and exhibition medium. The videodisc medium also breaks down the linear impulse in favor of viewer choice with accompanying demands for formal growth.
by Ellen Irene Sebring.
M.S.V.S.
Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence". Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
Pełny tekst źródłaPayne, Nicole, i Saravanan Elangovan. "Musical Training Influences Temporal Processing of Speech and Non-Speech Contrasts". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etsu-works/1565.
Pełny tekst źródłaSiddell-Strebel, Jeanne. "The effects of non-musical components on the ratings of performance quality /". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102844.
Pełny tekst źródłaGenuys, Grégoire. "Non-commutative homometric musical structures and chord distances in geometric pitch spaces". Thesis, Paris 6, 2017. http://www.theses.fr/2017PA066576/document.
Pełny tekst źródłaWe study two main topics: non-commutative homometry and the notion of distance between musical chords. Two melodies are homometric if they share the same set of intervals. We transpose this notion to a chord sequence and more generally to semi-direct products, which allows to build a framework for the general study of homometry in non-commutative groups, such as the dihedral group. In the second part we define a mesure of distance between musical chords of different cardinalities, from a distance based on the notion of voice-leading
Wright, Gary Kenneth. "A case study of an exemplary choral program: Non-musical issues of excellence". Scholarly Commons, 1996. https://scholarlycommons.pacific.edu/uop_etds/2692.
Pełny tekst źródłaLux, Violeta Alejandra Mayer. "Musical practices and non-democratic political systems : Popular music in authoritarian Chile 1973-1990". Thesis, University of Liverpool, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533976.
Pełny tekst źródłaRoca, Roxanne Elizabeth. "Depictions of non-Western musical cultures in Disney's film music of the 1990's". Thesis, Boston University, 2012. https://hdl.handle.net/2144/12603.
Pełny tekst źródłaThis thesis examines the depictions of non-Western musical cultures in the following Disney films: Aladdin (1992), The Lion King (1994), and Mulan (1998). Since these films are targeted at children, they need to be investigated in terms of what messages they communicate and how these messages are perceived by young audiences. This research includes close examination of the films in question, as well as literature on Orientalism, Exoticism, Disney history, and child aesthetics and cognition. Additionally, interviews were conducted with children aged four through eleven. This research highlights the importance of cross-cultural collaborations and further investigation into children's music.
Nuti, Gianni. "Le corps qui pense : étude sur les tensions musculaires non fonctionnelles chez l'interprète musical". Paris 10, 2004. http://www.theses.fr/2004PA100036.
Pełny tekst źródłaThe aim of thsi research consists in identifying and qualifying the greatest number of TMNF non-functional muscular tensions who often constitute, in the musician, a gap between the thought and the exact action. The birth of TMNF can be presented in the form of a mirror of one inadequacy at the psychomotor task, of an overdrawn relationship with its own body, of a psychological and psychosocial faintness instead of being the simple consequence of musical problems or technical-instrumental quotas. On this subject a qualitative-quantitative mixed methodology was employed : the making of a questionnaire of rising, the choice of three guitarists and three violonists engaged to carry out denounced pieces as causes TMNF. We have written some protocols of self-analysis, observation and analysis, we carried out recordings audio-visuals digitals and raised electromyographic multiples, on several bundles of muscle. We traced a table of the socio-family history and current context of life of each musician; a protocol of observation especially conceived for a profesional musician, a psychologist and a passionate man of music achieved the research
Caldwell, George Neville. "Exploring the musical identities of adult self-defined 'non-musicians' : an interpretative phenomenological analysis". Thesis, Glasgow Caledonian University, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.658605.
Pełny tekst źródłaCiciliani-Stiglmayer, Marko. "Dirty light : the application of musical principles to the organisation of light as an extension of musical expression into the non-figurative visual realm". Thesis, Brunel University, 2010. http://bura.brunel.ac.uk/handle/2438/5075.
Pełny tekst źródłaBretherton, Beatrice Emily. "The effects of musical tempo and non-invasive neuromodulation on autonomic control of the heart". Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/20495/.
Pełny tekst źródłaLewis, Andrew. "The Last 2500 Years: Defining, Dissecting and Directing the Less Linear Musical". Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3797.
Pełny tekst źródłaM.F.A.
Department of Theatre
Arts and Humanities
Theatre MFA
Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.
Pełny tekst źródłaMorford, James B. "A study of the pedagogy of selected non-Western musical traditions in collegiate world music ensembles". Morgantown, W. Va. : [West Virginia University Libraries], 2007. https://eidr.wvu.edu/etd/documentdata.eTD?documentid=5099.
Pełny tekst źródłaButler, Milton Louis 1947. "The effects of composer's ethnic identity on the stated musical preferences of university non-music majors". Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/288700.
Pełny tekst źródłaLeite, Matheus de Carvalho. "Música, comunidade e escola : relações vividas por professores não-especialistas em música". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/97690.
Pełny tekst źródłaThe objective of this research was to unveil the musical practices of teachers in the community and at school discussing the relationship between music, school and community. The methodology adopted was the case study, taking as theoretical support reflections upon Setton (2010), Forquin (1994), Bozon (2000) and Souza (2012). The musical practices of teachers include the act of music listening, musical preferences, the practice of singing, experiments with music lessons, practice playing a musical instrument or not, participation in musical activities, interactions with bands and ensembles active in community, awareness and inclusion in relation to the different spaces where music is present in communities, professionals who work with music in the classroom, how that in their teaching practice in the classroom musical experiences of students and teachers are contextualized. The results contributes to current discussions in Brazil relating to the context of Federal Law. º to 11.769/08 regarding the musical and pedagogical practices of teachers non-specialist in music.
VERGEZ, CHRISTOPHE. "Trompette et trompettiste : un systeme dynamique non lineaire a analyser, modeliser et simuler dans un contexte musical". Paris 6, 2000. http://www.theses.fr/2000PA066471.
Pełny tekst źródłaButler, Thomas. "Composition as the creation of a performance, music as a vehicle for non-musical thought : six new works". Thesis, University of St Andrews, 2016. http://hdl.handle.net/10023/9896.
Pełny tekst źródłaJordan, Catherine. "Exploring a possible tonal loop in musicians and non-musicians and the relationship between musical expertise and cognitive ageing". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/31077.
Pełny tekst źródłaPhalen, Steven P. "The Gathering Place: Musical Expressions of Self and Community within a Non-Profit, Community Mental Health Drop-in Center". Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1374621039.
Pełny tekst źródłaPodestá, Nathan Tejada de 1984. "O autodidatismo na formação musical : revisão de conceitos e investigação de processos não-escolares de aprendizagem e desenvolvimento musical". [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284627.
Pełny tekst źródłaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-24T10:08:19Z (GMT). No. of bitstreams: 1 Podesta_NathanTejadade_M.pdf: 3798991 bytes, checksum: 1acc5dd0297d6fc659980707d4e4176e (MD5) Previous issue date: 2013
Resumo: Neste trabalho pretendemos debater a noção de autodidatismo na formação musical. Adotamos uma perspectiva histórico-cultural do desenvolvimento musical referenciada em Vigotski (2007); Bakhtin (2003); Schoreder (2005); Gohn (2009); Vincent Lahire e Thin (2001); e Bourdieu (2011). Partindo de uma pesquisa realizada com três professores de música e setenta estudantes de violão, que iniciavam as atividades musicais oferecidas através de um curso livre de música na cidade de Paulínia-SP, levantamos dados que nos permitiram representar o que seria o "senso comum" da área sobre o assunto investigado. Estes dados evidenciaram quatro sentidos gerais associados à noção de autodidatismo na formação musical que debatemos, cruzando informações sobre a formação cultural dos entrevistados com as respostas oferecidas por eles. Observamos a existência de diferentes tipos de processos educativos não-formais e informais de música que tendo sido realizados consciente ou inconscientemente por eles tinham contribuído para os seus desenvolvimentos musicais. Neste processo compreendemos que parte das atividades que leva ao desenvolvimento pode ser conduzida pelo próprio estudante, e ao mesmo tempo, que a noção de autodidatismo evoca critérios eminentemente escolares para afirmar a existência de um processo não-escolar de aprendizagem e desenvolvimento musical que ela não dá conta de explicar por si só, exigindo considerarmos que os diferentes tipos de processos educativos consolidam outras formas de conhecimentos musicais (além dos formalizados, sistematizados) que constituem a musicalidade dos indivíduos. Passamos então à observação da estrutura organizacional da educação musical formal no Brasil (educação básica, ensino de nível técnico e superior) verificando em que medida esta educação musical formal se realiza e situando os outros processos educativos em relação a ela. Observamos as possibilidades de acesso aos cursos superiores de música nos diferentes estados da federação e pudemos notar que apenas recentemente a música popular começou a participar de um modo ainda restrito deste universo formal, predominantemente erudito. Por fim, observamos o processo de formação musical do violonista, guitarrista e compositor Hélio Delmiro que alcançou alto nível de desenvolvimento musical através de uma profunda vivência musical aliada a realização estudos musicais organizados. O fato do músico não se reconhecer como "autodidata" viabiliza uma série de reflexões sobre o assunto. Contribui ainda para destacarmos a impossibilidade de considerarmos apenas um único canal de desenvolvimento musical como possível e de desconsiderarmos outros canais (que não estão diretamente associados à educação formal, escolar, mas que ainda assim podem guardar com ela uma relação), na constituição da musicalidade individual.
Abstract: In this paper, we intend to discuss the concept of auto didacticism in musical education. We adopted a perspective referenced in Vigotski (2007); Bakhtin (2003); Hall (1997)Schoreder (2005); Gohn (2009); Afonso (2001) Vincent Lahire and Thin (2001); and Bourdieu (2011). From a survey performed with three music teachers and seventy guitar students, who were initiating the musical activities provided by a free musical course in the city of Paulínia-SP, we obtained data that allowed us to represent what would be the "common sense" in the area on the investigated subject. These data evidenced four general concepts associated to the notion of auto didacticism which we discuss, crossing information on the cultural formation of the interviewed individuals and the answers provided by them. We observed the existence of different non-formal and informal musical educational processes, which, having been consciously or unconsciously performed, had contributed with their musical development. In this process, we understood that part of the activities that lead to the development may be conducted by the student himself/herself. At the same time, the notion of auto didacticism evokes criteria that eminently school related to affirm the existence of a non-school related learning and musical development process which it cannot explain on its own, and requires us to consider the fact that the diferente types of educational processes consolidate other forms of musical knowledge (other than those formalized, systematized) that constitute the individuals¿ musicality. We then proceeded to the observation of the organization structure of the formal musical education in Brazil (basic education, secondary technical education and higher education) and verified to what extent formal musical education is performed and situate the other educational processes in comparison with it. Finally, we described the musical education process of the acoustic and electric guitarist and composer Hélio Delmiro, who reached a high musical development level through a deep musical experience, associated to the performance of organized musical studies. The examples related renders feasible a series of consideration on the subject. They contributes with the emphasis on the impossibility of considering only one channel for musical development as possible as disregarding others which are not directly associated to formal education, but still may be somehow related to it.
Mestrado
Fundamentos Teoricos
Mestre em Música
Justino, Jussara Aparecida de Paula. "Educação musical humanizadora : uma experiência com crianças no campo da educação não formal". Universidade Federal de São Carlos, 2017. https://repositorio.ufscar.br/handle/ufscar/9309.
Pełny tekst źródłaApproved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2018-01-25T18:59:26Z (GMT) No. of bitstreams: 1 DissJAPJ.pdf: 4007660 bytes, checksum: ea82aea51c90d5ef46be812c0885a2cb (MD5)
Approved for entry into archive by Ronildo Prado (bco.producao.intelectual@gmail.com) on 2018-01-25T18:59:35Z (GMT) No. of bitstreams: 1 DissJAPJ.pdf: 4007660 bytes, checksum: ea82aea51c90d5ef46be812c0885a2cb (MD5)
Made available in DSpace on 2018-01-25T19:02:09Z (GMT). No. of bitstreams: 1 DissJAPJ.pdf: 4007660 bytes, checksum: ea82aea51c90d5ef46be812c0885a2cb (MD5) Previous issue date: 2017-02-20
Não recebi financiamento
This research took place in the Curumim Program at the SESC unit in the city of Araraquara / SP, with children from 7 to 12 years of age, Children whose parents work in the commercial area and in tourism. The program aims at the integral development of the child through cultural, artistic and sports activities that prioritize the playfulness and quality of life. The general objective of the research was to identify possibilities in the development of educational and musical processes with children from the perspective of non - formal education, valuing a dialogical praxis between children and researcher. The research was based on authors of music education, such as Brito (2001, 2003, 2007), Koellreutter (1997), Joly and Severino (2016), who supported the concepts of music education, articulated with other area theorists. . In order to understand and contextualize non-formal education, the contributions came from research on texts by Gohn (2007, 2008), Garcia (2015), Park and Fernandes (2005, 2015), authors who have been studying the systematization of this area of study in Brazil. The research still relied mainly on the thinking of Freire (2014) to understand the exchange between knowledge and dialogical praxis. The methodology had a qualitative approach, with reflections based on some of the concepts of the Phenomenology, based on authors such as Merleau-Ponty (2011, 2013, 2014), Bicudo (2011), Martins e Bicudo ) And Rezende (1990). Data collection was based on Bogdan and Biklen (1994), children's drawings and writings, and photos of some of the musical moments. The research brings contributions to the production of knowledge about the music in education with children. Showing the importance of dialogue as a way to construct an autonomous world, and as a motivating element for the construction of joint propositions between children and educators.
Esta pesquisa foi desenvolvida no Programa Curumim na unidade do SESC na cidade de Araraquara/SP, que atende crianças de 7 a 12 anos de idade, filhos de servidores do comércio de bens, serviços e turismo, público prioritário do SESC. O programa visa o desenvolvimento integral da criança por meio de atividades culturais, artísticas e esportivas que priorizem o lúdico e a qualidade de vida. O objetivo geral da pesquisa foi identificar possibilidades no desenvolvimento de processos educativos e musicais com crianças em uma perspectiva da educação não formal, valorizando uma práxis dialógica entre crianças e pesquisadora. A pesquisa teve por base autores da área de educação musical, tais como Brito (2001, 2003, 2007), Koellreutter (1997), Joly e Severino (2016), que sustentaram os conceitos da educação musical, articulados com outros teóricos da área. Para compreensão e contextualização da educação não formal os aportes vieram da pesquisa e reflexão sobre textos de Gohn (2007, 2008), Garcia (2015), Park e Fernandes (2005, 2015), autoras que vêm se debruçando na sistematização dessa área de estudo ainda em construção no Brasil. A pesquisa ainda contou principalmente com o pensamento de Freire (2014) para entender a troca entre saberes e a práxis dialógica. A metodologia teve uma abordagem qualitativa, com reflexões baseadas em alguns dos conceitos da Fenomenologia, de onde trouxe autores como Merleau-Ponty (2011, 2013, 2014), Bicudo (2011), Martins e Bicudo (2006) Machado (2010) e Rezende (1990). A coleta de dados teve como ferramenta de registro, os diários de campo baseados em Bogdan e Biklen (1994), desenhos e escritos das crianças, e fotos de alguns dos momentos dos encontros musicais. A pesquisa traz contribuições para a produção do conhecimento sobre música na educação com crianças. Mostrando a importância do diálogo como meio para construção de uma leitura de mundo autônoma, e como elemento motivador para a construção de proposições conjuntas entre crianças e educadores.
Schaal, Nora Kristin [Verfasser]. "Investigating the neural basis of pitch memory depending on musical abilities using non-invasive brain stimulation methods / Nora Kristin Schaal". Düsseldorf : Universitäts- und Landesbibliothek der Heinrich-Heine-Universität Düsseldorf, 2015. http://d-nb.info/1073247287/34.
Pełny tekst źródłaBacon, Alice Louise. "A technical study of the alloy compositions of 'brass' wind musical instruments (1651-1867) utilizing non-destructive X-ray flourescence". Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/1446769/.
Pełny tekst źródłaKramer, Marci D. "Relationship between frequency of musical activity participation, sense of coherence, and subjective reports of health in non- institutionalized older adults". Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027116.
Pełny tekst źródłaFisher Institute for Wellness
Jerling, P. A. (Petra Adriana). "Music therapy for second language English-speaking learners in an english-medium school : a case study". Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/41587.
Pełny tekst źródłaDissertation (MMus)--University of Pretoria, 2013.
lmchunu2014
Music
unrestricted
Perks, Richard. "Combining musical identities through composition and improvisation". Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7545.
Pełny tekst źródłaWilliamson-Urbis, Sue Zanne. "The effect of two methods of music instruction on the degree of liking and musical knowledge on non-music majors enrolled in music appreciation classes". Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187447.
Pełny tekst źródłaAblitzer, Frédéric. "Influence des paramètres mécaniques et géométriques sur le comportement statique de l’archet de violon en situation de jeu". Thesis, Le Mans, 2011. http://www.theses.fr/2011LEMA1023/document.
Pełny tekst źródłaThe bow, which is essential to produce the sound of bowed string instruments, has been little studied. The present work aims to better understand its mechanical behavior in playing situation. To this end, numerical models are developped. The stick, which is prestressed due to hair tension, is modelized by beam finite elements. A corotational formulation is adopted to take into account geometric nonlinearity. A first model (2D) concerns the in-plane behavior of the bow. It is used within a numerical study aiming at showing the influence of making and adjusting parameters on the tightened bow. A second model (3D) takes into account out-of-plane loading that makes the stick bend laterally. A non-destructive procedure to determine mechanical properties of wood and hair is proposed. It is based on an inverse method using the 2D model. As an experimental validation, numerical results obtained with the 3D model are confronted to measurement on two bows, for different settings of camber and hair tension. The effect of prestress on lateral bending stiffness is highlighted. A good agreement is observed. Thus, the model can be considered as predictive and might be used as an aid to bow making. Furthermore, the stability of a bow is a problem considered by bow makers. A phenomenological model based on a simple mechanical system is presented. It aims to give tendancies on conditions at which bifurcation or limit point instability can occur, by drawing an analogy with the bow. The numerical computation of pre- and post-critical behavior of the bow shows similar instability cases. Their possible consequences on playing and making are discussed. Finally, playing tests with musicians are carried out, focusing on the adjustment of camber and hair tension. The results tend to show the influence of the considered adjustment parameters on the assessment of playing qualities
Krutkevičiūtė, Ona. "Muzikinės improvizacijos naudojimo ypatumai 5 - 8 progimnacijos klasių neformaliajame švietime". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2013. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2013~D_20130802_105644-20383.
Pełny tekst źródłaSome of the most important conditions of nowadays education change are creative presentation of the appropriate tasks in school, discovery of new learning relations and pedagogic forms and development and cultivation of students’ competencies. Improvisation is a characteristic of folk art, as well as of some professional arts industries: music, poetry and theater. Musical improvisation can be recorded by audio, but can not be repeated. The purpose of master thesis “Features of Musical Improvisation Application in non-formal Education of 5 – 8 Progymnasium Grades” is to explore the features of musical improvisation use in non-formal education of 5 – 8 progymnasium grades. To achieve this goal the following objectives have been set: identify problems of musical improvisation and non-formal education synthesis, ascertain students’ and teachers’ attitude towards musical improvisation, examine the features of musical improvisation use in non-formal education activities, and determine the use of high-tech while improvising. Research object – use of musical improvisation in non-formal education. The study was carried out in III phases. Phase I – Questionnaire survey for teachers and students. Questionnaire for teachers was used to ascertain teachers' attitude towards the use of musical improvisation in non-formal education. 17 teachers, who are leading non-formal education activities in Vilnius city progymnasiums, participated in this questionnaire. Questionnaire for students was... [to full text]
Dregalia, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1272374147.
Pełny tekst źródłaDregalla, Donald Martin. "A descriptive study of the post-secondary musical/cultural behaviors and attitudes of participants and non-participants of instrumental music ensembles from two secondary schools in eastern Massachusetts /". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu148784494807576.
Pełny tekst źródłaHassel, Jakob, i Andreas Risberg. "Ljudidentitet : Är även ett ljud värt tusen ord?" Thesis, Södertörns högskola, Företagsekonomi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38490.
Pełny tekst źródłaFerreira, Gabriel Nunes Lopes. "A influÃncia do Projeto Jardim de Gente na reinvenÃÃo do cotidiano dos jovens do Bom Jardim: um estudo de caso no curso de PrÃtica de Conjunto". Universidade Federal do CearÃ, 2015. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=13868.
Pełny tekst źródłaO presente trabalho aborda a educaÃÃo musical em espaÃos nÃo formais de ensino e como esses espaÃos contribuem para a educaÃÃo musical na periferia de Fortaleza. A pesquisa tem como objetivo compreender, sob a perspectiva dos estudantes, a importÃncia dos cursos de MÃsica realizados pelo Projeto Jardim de Gente. O Projeto à desenvolvido no Bairro Bom Jardim, nas instalaÃÃes do Centro Cultural Bom Jardim. O referencial teÃrico principal da pesquisa està baseado em Bourdieu, com seus estudos sobre jogos de poder e classes sociais; Certeau, com sua pesquisa sobre cotidiano; e Koellreutter, com sua proposta de EducaÃÃo Musical. Como abordagem metodolÃgica, foi realizado um estudo de caso no curso de PrÃtica de Conjunto. Foram escolhidos e entrevistados dez estudantes que participaram do curso no perÃodo de 2010 a 2013. AlÃm dos relatos dos dez estudantes, foram utilizados como fontes de evidÃncias os planejamentos do curso e tambÃm o Projeto PolÃtico PedagÃgico do Jardim de Gente, este Ãltimo desenvolvido de maneira coletiva com participaÃÃo da comunidade, estudantes, professores e coordenaÃÃo do Projeto. Assim, o curso de PrÃtica de Conjunto assume o papel de um espaÃo de mudanÃas de percepÃÃes com relaÃÃo à prÃtica musical e tambÃm com relaÃÃo Ãs atividades cotidianas dos estudantes. De acordo com os resultados, o Projeto surge como um espaÃo de democratizaÃÃo do saber musical, reinventando o cotidiano de seus frequentadores.
This paper discusses music education in non-formal spaces of education and how these spaces contribute to the musical education on the outskirts of Fortaleza. The project aims the understanding of the importance of music courses held by the Project Jardim de Gente (Garden of People) through the studentsâ perspective. The project is developed in the neighborhood of Bom Jardim, the premises of the Bom Jardim Cultural Center. The main theoretical framework of the research is based on Bourdieu, with his studies on power games and social classes; Certeau, with his research on everyday life; and Koellreutter, with its proposal for Music Education. As a methodological approach, a case study in the course of Joint Practice was made. Ten students who participated in the course in the period 2010 to 2013 were chosen and interviewed. In addition to this, course planning and the Pedagogical Political Project of Garden of People (Projeto PolÃtico PedagÃgico do Jardim de Gente) were used as sources of evidence, the latter was developed collectively with the participation of the community, students, teachers and coordination of the Project. Thus, the Practice course comes as perceptions of space changes with respect to musical practice and also in relation to daily students activities. According to the results, the project appears as a democratization of musical knowledge, reinventing the daily lives of its attendees.
Westrupp, Sérgio Luiz. "Representações sociais de música em processos de educação musical formal e não formal de uma escola de educação básica". Universidade do Estado de Santa Catarina, 2012. http://tede.udesc.br/handle/handle/1517.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior
This dissertation has as the general objective to understand how the social representations of music, that permeate the social relationships of a Basic Education city school in the interior of Santa Catarina state in Brazil, link with formal and non formal practices of music teaching developed. The specific objectives aimed at understanding how the identity processes of all the investigated subjects relate with the music teaching and learning processes in the context of that school, and identifying and analyzing the several social representations of music constituted and shared by subjects involved direct and indirectly in the musical practices. The qualitative methodology was adopted under the drawing of a case study with an ethnographic approach. The instruments of data collection were individual and focus-group semi-structured interviews with the several participants of the research, documental analysis and participant observation. The data were analyzed under the theoretical framework of the social representations in the perspective of the social psychology by the triangulation among the discursive analysis of the participant subjects, the analysis of the music class plans and the notes of the field diary. The outcomes evidence strong relationship among the music representations constituted and shared by all the participants of this research, their musical identities and the pedagogic practices of the music teaching promoted in the music classes and in the band rehearsal. This specific context of music education shares consensual and contradictory social representations of music promoting the dilution of the borders among the processes of formal and non formal education constituted through a strong complimentary relationship among both
Esta dissertação tem como objetivo geral compreender como as representações sociais de música que permeiam as relações sociais de uma escola de educação básica de um município do interior do Estado de Santa Catarina se relacionam com as práticas formais e não formais do ensino de música nela desenvolvidas. Os objetivos específicos buscaram compreender como os processos identitários de todos os sujeitos investigados se relacionam com os processos de ensino e aprendizagem da música desencadeados no contexto desta mesma escola e identificar e analisar as diversas representações sociais de música constituídas e compartilhadas por sujeitos envolvidos direta e indiretamente nas práticas musicais desta escola. Adotou-se a metodologia qualitativa sob o desenho de um estudo de caso do tipo etnográfico. Os instrumentos de coleta de dados foram entrevistas individuais e grupo-focal semiestruturadas com os vários participantes da pesquisa, análise documental e observação participante. Os dados foram analisados sob o referencial teórico das representações sociais na perspectiva da psicologia social mediante a triangulação entre a análise discursiva dos sujeitos participantes, análise dos planos de aula de música e as anotações do diário de campo das observações. Os resultados apontam para a forte relação entre as representações de música constituídas e compartilhadas por todos os participantes desta pesquisa, suas identidades musicais e as práticas pedagógicas do ensino de música promovidas nas aulas de música e no ensaio da banda. Este contexto específico de educação musical compartilha de representações sociais de música tanto consensuais como contraditórias de forma a promover a diluição das fronteiras entre os processos de educação formal e não formal ali constituídas por meio de uma forte relação de complementaridade entre ambas
Hermon, Andrew Neil. "Gaining the Upper Hand : An Investigation into Real-time Communication of the Vamp and Lead-In through Non-Expressive Gestures and Preparatory Beats with a focus on Opera and Musical Theatre". Thesis, Luleå tekniska universitet, Institutionen för ekonomi, teknik, konst och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-86871.
Pełny tekst źródłaAlves, Marcelo Jorge Cabral de Mello Dantas. "Formação musical e a inclusão social de crianças e jovens na Orquestra Criança Cidadã". Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/6616.
Pełny tekst źródłaCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The present work is about the Orquestra Criança Cidadã (Child Citizen Orchestra), a nongovernmental organisation that assists children and youngsters aged 4 to 20 who live in the Coque neighbourhood in Recife, Pernambuco. The main purpose of this study is to understand the relationship between the music education received and the social inclusion of these children and youngsters. In order to fulfill this aim, case study method was chosen as the means of collecting data. The results revealed the influence of a social music education on the lives of these children and youngsters, especially regarding their personal relationships and their development as citizens.
Este trabalho teve o objetivo de compreender como se tece a relação entre formação musical e inclusão social de crianças e jovens do Projeto Orquestra Criança Cidadã, que atende crianças e jovens de quatro a vinte anos, oriundos da Comunidade do Coque em Recife, Pernambuco. A pesquisa foi realizada à luz dos conhecimentos de pesquisa qualitativa, tendo como método o estudo de caso e utilizando como instrumentos de coleta de dados a observação, entrevistas com alunos do Projeto e fontes documentais. A pesquisa revelou, para além de aspectos pedagógicos e organizacionais do Projeto, a formação musical social proporcionada a essas crianças e jovens, bem como o sentido dessa formação em suas vidas, principalmente em suas relações pessoais e em seu crescimento enquanto cidadãos.
Ahlberg, Sara. "Kommunikation i särskolan : En kvalitativ studie om kommunikation kopplat till individanpassad musikundervisning". Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-84827.
Pełny tekst źródłaKriščiūnaitė, Asta. "Mokinių pažangos ir pasiekimų vertinimas neformaliajame muzikiniame ugdyme: būsimųjų muzikos pedagogų požiūrio analizė". Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2013~D_20140225_122320-67763.
Pełny tekst źródłaThe Non-formal musical education organized in Lithuania is getting more and more attention not only from society, but as well from educational community too. In order to fulfill the needs and aims it is not sufficient to focus on the interests, which satisfy the educational institution or a training program. Such non-formal musical education factors as education of the art consumer, moral attitude formation, fostering critical approach, encouragement of emotional awareness, development of creative capacity, inducement of students’ joy using a chosen musical activity become significant. The factors mentioned above are linked by the contemporary educational paradigms. The latter criticize the classical model with its strongly expressed evaluative environment, obedience / usefulness and allowed / forbidden relations. In this context the importance of the assessment process of students’ progress and achievement becomes intense. It is necessary for art / music schools to manage the discipline problems, copying, intentional lateness to classes or being absent without a justifiable reason and so on. Recently an increasing interest of scientists in solving the students’ progress and achievement assessment system problems in the secondary schools can be noticed. However, the assessment area in non-formal musical education still has not been sufficiently investigated. This problem is especially relevant while preparing the future music pedagogues, who will work with students in art /... [to full text]
Frances, Florence. "Émotions et musique du XXe siècle : Ligeti et Stravinski. La communication musicale dans la musique du XXe siècle : étude des liens entre la structure des œuvres musicales et les réponses sémantiques des sujets en situation d’écoute". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040205.
Pełny tekst źródłaThe objective of research is to make a musicological and psychological contribution to the understanding of not verbal symbolic transformation occurring in the heart of the human psyche. The musical object-flow, carried by a vibratory wave, an energy in movement, is not a natural object, but an object stemming from the human psyche conceived to act on the other human psyches. It would seem, and it is only a working hypothesis, that the composer would have the capacity to code his feelings in musical waves and to pass on them to the auditor, subject sensitive to certain wavelengths of musical thinking, who would decode them. The object of the thesis is the existence of an infraverbale communication, intuitive, global and direct between not tonal music work and the auditor through the study of visual productions and written productions realized by fifty nine subjects in situation of listening musical extracts of Stravinski and Ligeti. Is it possible to widen the application field of Imberty’s concept, schème de résonance émotionnelle, into the xxe century music ? What other psychic representations are invested by the subjects in situation of musical listening ?
Georgiou, Chrystalla. "Beyond narrative : a cross-modal approach to soundtrack composition". Thesis, University of Hertfordshire, 2017. http://hdl.handle.net/2299/18621.
Pełny tekst źródłaGuevel, Nathalie. "Construction de l’individu - Construction de la peinture : pour une éthique de la création : le rater comme vecteur d’expression et de structuration de l’être". Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30060/document.
Pełny tekst źródłaThis thesis presents an action creation research project whose main axis analyses the relationship to the identity process at work in the pictorial activity. An internal locus of experimentation becomes a painting “space“which is no longer approached from an aesthetic point of view but more from a subjectivist and constructivist one. My approach is built around a main axis: the parallel between the construction of the painting and the construction of an individual become creative autonomous "subject" as E.Kant understands it. This relationship between artistic practice and the process of individuation (as defined by CG Jung) leads to the paradox of an "ethics of the relationship" based on self study that I have developed more thoroughly to provide both a theoretical framework and a teaching method in accompanying painting. Accessible to all, this method accompanies people with mental disability, mental illness or autism but our thesis undertakes a more comprehensive reflection on painting as embodied in a musical body as a vector of identity. A new architecture of painting as made up of "sludge", "deposits" supports this musical reading with metaphors of renewal. A theory of miss is seen here as an educational vector. It comes in the form of games against major obstacles favoring the “motor imagination” induced by shape and color both in the one that is accompanying and the one accompanied. We offer a mutually constructive painting space as a way out of psychological, sometimes social closure and stress, to open up to the world and transform ourselves
Smith, Jayson. "Metric Dissonance in Non-Isochronous Meters". Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1248499/.
Pełny tekst źródłaGoodman, Ronald David McLeod. "Onda de ritmo: aprendizagem não-formal no contexto de educação em música popular". Doctoral thesis, Universidade de Évora, 2019. http://hdl.handle.net/10174/26163.
Pełny tekst źródłaHankinson, John C. K. "A grammatical approach to non-speech audio communication". Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341114.
Pełny tekst źródłaFrisell, Lisa, i Cecilia Olsson. "Konstruktion och utprövning av datorbaserat test för intonation och rytm : Icke-språklig Testning Av Prosodi - ITAP". Thesis, Linköping University, Department of Clinical and Experimental Medicine, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-18813.
Pełny tekst źródłaGenerally prosody is described as the rhythmic, dynamic and melodic features of language. Prosody is further often described as suprasegmental, since its properties go beyond vowels and consonants, which are segmental characteristics of language. A relationship between prosody and music has been noticed and described for several decades. At present, there are several studies proving relationship between prosodic and musical abilities.
The aim of the present study was to construct a test for prosodic non-linguistic perception and production regarding intonation and rhythm. The test was tried out on 16 children with typical language development aged 4;6-7;6 years.
Before testing of ITAP each participant were asked about musical experience. For formal assurance that the participants had typical language development a pretesting was performed.
The results demonstrate an even range and therefore the complexity of ITAP seems to be on a representative level. Furthermore, ITAP is viable and the design is advantageous. The results of the present study suggest that both phonological working memory and grammatical ability are related to the aspects of intonation tested in ITAP.
The study contributes to the knowledge about possible relations between prosodic and musical abilities, and it provides guidance on what children with typical language development are expected to achieve on ITAP.
Malheiro, Frederico Alberto Santos de Carteado. "Automatic musical instrument recognition for multimedia indexing". Master's thesis, Faculdade de Ciências e Tecnologia, 2011. http://hdl.handle.net/10362/6124.
Pełny tekst źródłaThe subject of automatic indexing of multimedia has been a target of numerous discussion and study. This interest is due to the exponential growth of multimedia content and the subsequent need to create methods that automatically catalogue this data. To fulfil this idea, several projects and areas of study have emerged. The most relevant of these are the MPEG-7 standard, which defines a standardized system for the representation and automatic extraction of information present in the content, and Music Information Retrieval (MIR), which gathers several paradigms and areas of study relating to music. The main approach to this indexing problem relies on analysing data to obtain and identify descriptors that can help define what we intend to recognize (as, for instance,musical instruments, voice, facial expressions, and so on), this then provides us with information we can use to index the data. This dissertation will focus on audio indexing in music, specifically regarding the recognition of musical instruments from recorded musical notes. Moreover, the developed system and techniques will also be tested for the recognition of ambient sounds (such as the sound of running water, cars driving by, and so on). Our approach will use non-negative matrix factorization to extract features from various types of sounds, these will then be used to train a classification algorithm that will be then capable of identifying new sounds.
Vieira, Márlou Peruzzolo. "The collaborative process from the performer’s perspective: a case study of non-guitarist composers". Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/17882.
Pełny tekst źródłaNesta tese discute-se a interação entre compositor e performer a partir de um processo colaborativo para a criação de obras musicais para violão solo. O objetivo é categorizar e caracterizar os estágios relevantes de um processo colaborativo, demonstrando e discutindo a adaptação das peças comissionadas, bem como analisando o processo criativo. Apesar de o campo de pesquisa (colaboração compositor-performer) já ter sido alvo de atenção recente, esta pesquisa segue por um viés pouco explorado: processos de colaboração entre compositor e performer em que o compositor não toca o instrumento para o qual está escrevendo. Portanto, o foco principal da discussão situa-se na problemática da composição para violão por compositores não violonistas em colaboração com violonistas. A primeira parte desta pesquisa consistiu em um estágio exploratório em que um estudo do processo colaborativo de compositores brasileiros não violonistas – ainda atuantes e com obras para violão publicadas – que foram assessorados por um ou mais violonistas. Os dados obtidos através da análise das entrevistas serviram de guia para a segunda parte desta pesquisa, que consiste em um estudo de caso de base fenomenológica para a criação de três novas obras para violão solo, discorrendo sobre a colaboração entre o autor desta tese e o compositor Samuel Peruzzolo-Vieira.
This thesis discusses the interaction between composer and performer in the context of collaborative processes involving the creation of musical works for solo guitar. The aim is to categorise and characterise the relevant stages of a collaborative process, demonstrating and discussing the adaptation of the commissioned pieces, and analysing the creative results. Although the research field (composer-performer collaboration) has been the subject of recent attention, this research approaches a rarely explored perspective: the collaborative process between composers and performers in which composers do not play the instrument they are composing for. Therefore, the main focus lies in the problematic of composition for guitar by a non-guitarist composer interacting with a guitarist. The first section of this research consisted of an exploratory stage which analysed the collaborative processes of non-guitarist composers from Brazil – active composers with published guitar works – who were advised by one or more guitarists. All data obtained from the analysis of the interviews was used to guide the second part of this research, which addressed a case study based on a phenomenological approach: three new works for guitar were created in order to discuss the collaboration between the author of this thesis and the composer Samuel Peruzzolo-Vieira.