Rozprawy doktorskie: „University of Edinburgh. Music”

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Donaldson, Fiona McCallum. "Reid Concerts at the University of Edinburgh : the first 100 years, 1841-1941". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33058.

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Reid Concerts began in 1841 and were defined by Donald Francis Tovey as those concerts presented by the University of Edinburgh under the auspices of the Professors of Music, based on the guidance laid down in the will and codicil of General John Reid. Reid was a major benefactor who bequeathed funds for the establishment of the Chair of the Theory of Music at The University of Edinburgh with a condition attached to the bequest that a concert be held each year in his memory. This thesis will explore the development and evolution of the first 100 years of these concerts through the contents of the available original concert programmes and related ephemera held in the Centre for Research Collections at The University of Edinburgh - a valuable historical resource which has never been fully recorded or researched. Analysis of this resource will focus on the programming, people, personalities, places, and perspectives associated with the performances and offer insight into the choices and influences of the Professors of Music charged with the organisation and implementation of the concerts over an extended timescale from 1841 to 1941. To aid this analysis a searchable online database has been designed and developed to provide outline performance details and some background information on the contents of many of these Reid concert programmes: http://www.reidconcerts.music.ed.ac.uk. The database is both a finding aid to these contents and a research tool providing a basis for future studies. This research will contribute to the history of the University and City of Edinburgh and the social and musical history of concerts in the University from 1841. The findings emphasise the usefulness of printed concert programmes in recording trends in concert presentation and programming and will broaden the knowledge of this use of such ephemera for academic research.

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Fenton, Clive B. "Appleton's architects : building the University of Edinburgh (1949-65)". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/4057.

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The thesis examines and explains the background events to the architecture of the University of Edinburgh during the years 1949-65, when Sir Edward Appleton was the Principal. The four books that constitute the thesis each take different perspectives on the progress of the post-war expansion project. Appleton had to reconcile Edinburgh's policy to reintegrate dispersed University departments within the city-centre with a rapid and unprecedented and expansion in higher education. Selection of sites was the subject of a prolonged and heated debate, which is related in Book One. Aided by a formidable array of architectural talent, Appleton persuaded the local and national authorities that the controversial George Square development, in tandem with a separate suburban site for science expansion, would produce the most desirable outcome. The second book discusses the style of architecture that was produced, looking at the pre-war background of the Edinburgh School architects: William Kininmonth, Basil Spence, Robert Matthew and Alan Reiach. The influences are traced to Scandinavia and the architects' preoccupation with cultural nationalism. These factors combined with the ethos of reconstruction and the City's ambitions for cultural regeneration to create architecture with a resonance particular to its time and place. How, and why, this is regarded as Festival Style is explained. The academic and social objectives of the Universities, as directed by Humanists and Christians in influential positions, were crucial to the architectural outcome, and these are investigated in Book Three. A large amenity centre was planned for the University area and an important purpose-built halls-of-residence development achieved at a site near the city-centre in consequence of this. Edinburgh's own tradition, emanating from Patrick Geddes, played a significant part in the development of residences and student amenities, particularly the rehabilitation of a large 17th century building in the heart of the Old Town. Finally, in Book Four, the relationships between the architects and the theoretical antipathies they encountered are considered. The University provided a forum for interaction between the architects, with Matthew emerging as the dominant figure, advising Appleton on architecture and planning, and ultimately setting up a University Department of Architecture. For him, the University project was part of a social mission and architecture its tool. Kininmonth, the first post-war architect to the University, was displaced by Matthew's arrival. Spence's approach to urban design was crucial in the realisation of the George Square project, and yet he too was replaced when that was achieved. All of these architects encountered the dichotomies of Modernity and Tradition, and Science vs. Art, though with differing responses. Architects and University ultimately experienced the conflict between pragmatism and idealism. Viewed in its context. the achievement of Appleton was remarkable and, as a result, the University of Edinburgh must be considered the most extraordinary patron of architecture of the period.

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Cranmer, John Leonard. "Concert life and the music trade in Edinburgh c. 1780-c.1830". Thesis, University of Edinburgh, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508785.

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Baxter, Sonia Tinagli. "Italian music and musicians in Edinburgh c. 1720-1800 : a historical and critical study". Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/8655/.

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The contribution of the Italian musicians who came to Scotland during the period c. 1720-1800 was both vigorous and influential. It encompassed practically every area of musical activity: from performance to teaching, from the composition and arrangement of music to its publication, from the "professional patronage" of other musicians to the establishment of publishing companies and businesses dealing in the music and musical instrument trade. This thesis reconstructs the Scottish careers of almost all of those Italian musicians who went to live and work in Edinburgh. Some of them are already well-known figures, even if most historians have only given them limited attention. Other Italian musicians had only been treated in passing, some had been overlooked completely. This study examines primary documents in detail, such as the Minute books and Plan Books that were kept by the Edinburgh Musical Society in the eighteenth century, and also newspapers that were printed in Edinburgh during this period, in order to throw light on their musical activities in the Scottish capital. Linked with the careers of the Italian musicians in Edinburgh between c. 1720-1800 is an investigation of the reception and perception of these musicians in Scotland. This has been based largely on eighteenth-century accounts, but also includes nineteenth- and twentieth-century commentaries on Scottish musical history and culture. This section has included a consideration of economic, religious and philosophical issues concerning opera and the production of stage plays in Edinburgh during this period. Finally, there is a survey of the music that the Italian musicians performed, composed and published. This has involved examining a large amount of published music as well as manuscript sources. My investigation into this field has revealed a repertoire of music that was unique to Scotland, with Italian and English classical music performed alongside arrangements of Scots folk-songs.

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Edwards, Thomas Hayward. "'So much neglected?' : an investigation and re-evaluation of vocal music in Edinburgh 1750-1800". Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/15765.

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This thesis gives a comprehensive account of the vocal music performed in Edinburgh between 1750 and 1800. One of its aims is to highlight the importance of vocal music to a contemporary audience, an area which has hitherto been neglected in investigations into the musical culture of the city in the eighteenth century. It also attempts to place the Edinburgh Musical Society in the wider context of the vibrant concert and musical culture which developed through the second half of the century. The study attempts to demonstrate the importance of singing, not just within concerts, but as an integral part of many other social and cultural aspects of life, including: gentlemen’s clubs, schools, and the city’s churches. The careers of singers, as impresarios and teachers, and the influence they held over prevailing tastes and culture are examined. In addition to discussing the many foreign musicians active in the city this investigation also traces the impact of native born singers and teachers. It calls into question the assertions made by previous studies which suggested the primacy of instrumental music over vocal music and it attempts to demonstrate that the interest in, consumption of, and participation in vocal music grew over the course of the century. It also attempts to show that vocal music became a dominant influence following the demise of the Musical Society. The information contained in this account has been drawn from previously neglected newspapers and other archival sources, such as diaries, personal letters, the archives of the Musical Society preserved by Gilbert Innes, the Sederunt Books of the Musical Society, the repertoire of the Harmonical Society and published works on music, culture and history. The repertory itself has also been closely examined. By means of this work it has been possible to examine and expand the whole spectrum of musical life in the Scottish capital and thus establish the thriving vocal musical culture which existed at the time.

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Wotherspoon, Ian. "The British Empire and international students at the University of Edinburgh, 1880-1914". Thesis, University of Edinburgh, 2002. http://hdl.handle.net/1842/23271.

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This thesis is concerned with the response of the University of Edinburgh to the educational challenges and opportunities which arose outside its domestic environment between 1880 and 1914. Focusing mainly on the formal and informal British Empire, it seeks to determine the manner in which the University contributed to wider political, social and economic developments of the period. It examines how the University met the demands posed by the growth in overseas student numbers and by the new opportunities arising from the expansion of British interests abroad. An attempt is made to assess the University’s role in the transmission overseas of its educational knowledge and cultural values as well as of its ideas of Empire. Chapter One outlines the background to and context of the study. Quantitative statistics are provided in Chapter Two to show how many individuals born outside the British Isles came to study at Edinburgh University between 1880 and 1914, to establish where they came from and what courses of study they undertook. Chapters Three and Four then discuss some of the wider international dimensions of the University to estimate how far the University engaged with bodies and institutions outside the British Isles, and the extent to which its growing involvement in matters of imperial interest influenced the life of the academic and student community. Through a quantitative and qualitative analysis, Chapters Five to Ten consider on a regional basis the employment patterns of those Edinburgh graduates who went abroad during the period. They review the role of graduates played in the communities in which they lived and how far the culture and values nurtured by Edinburgh University were promoted abroad, particularly within the British Empire. Through an examination of their involvement with institutions and individuals overseas, the ideas of Empire espoused by Edinburgh graduates of this period, and how these were articulated, are explored. Chapter Eleven summarises the principal conclusions of the thesis and indicates where further research might be undertaken on the impact with the British Empire of ideas, practices and values fostered by Scottish Universities.

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Stuart, Niall T. "Attitudes towards international affairs among the students and staff of the University of Edinburgh, 1914-1939". Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/2673.

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This thesis examines attitudes toward international affairs held by students and staff at the University of Edinburgh between 1914 and 1939, particularly those relating to the issues of war and peace. Specific ideological areas to be looked at include religious influences, nationalism and imperialism, racial concepts, health, fitness and eugenics, and Marxism. Primary sources made use of throughout include the private papers and publications of officials and teaching staff at the university, newspaper letters and reports, University Court, Senatus, Faculty and other committee papers and minutes, official University publications and course text books, and student publications, society minutes and debating records. In the main body of the thesis the relevant positions of the student body and University official and staff are looked at separately and a generally chronological approach followed, with the overall period divided up into World War One, the 1920s, and the 1930s respectively. The conclusion seeks to evaluate the reasons why both students and staff offered up a generally vigorous support for Britain’s war efforts in both 1914 and 1939, this in spite of the widespread popularity of pacifistic ideas throughout the period covered.

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Adams, Leslie Elizabeth. "Music despite everything". Master's thesis, Mississippi State : Mississippi State University, 2008. http://library.msstate.edu/etd/show.asp?etd=etd-04042008-131845.

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Hu, Lin. "The expansion of the University of Edinburgh in the post-War era : the development of the central area". Thesis, University of Edinburgh, 2007. http://hdl.handle.net/1842/24725.

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The post-war period is regarded by many as a time of excitement in British university education. As part of the national trend, the University of Edinburgh strove to expand in the heart of the City by proposing a number of schemes for redevelopment. These were visionary but also led to considerable controversy. The aims of this thesis are to unfold the complexities of this, at times, controversial project. The thesis explores the post-war expansion of the University with regard to four aspects: (1) the influence of the national ethos for university reform; (2) the protracted planning debates relating to the University’s redevelopment of its central area – George Square; (3) the process of fulfilling the ambitions of the University and its architects with reference to the construction of buildings in this central area; and (4) connections of the university planning, in Edinburgh, with other selected contemporary universities both in Britain and in other countries (in the post-war era). Based on the architectural evidence and historical records, the thesis examines the achievements of the university expansion in Edinburgh, and, equally important, its problems in terms of the relationship between the university and the city bearing upon the physical planning of the university.

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Hill, Laura Kerr Hill. "University Music Unit-Sponsored, Non-Music Major Orchestras in the United States". The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu149936290595039.

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Ellaway, Rachel Helen. "Evaluating a virtual learning environment in medical education". Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/885.

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The use of technology-supported teaching and learning in higher education has moved from a position of peripheral interest a few years ago to become a fundamental ingredient in the experience of many if not most students today. A major part of that change has been wrought by the widespread introduction and use of ‘virtual learning environments’ (VLEs). A defining characteristic of VLEs is that they combine a variety of tools and resources into a single integrated system. To use a VLE is not just to employ a single intervention but to change the very fabric of the students’ experience of study and the university. Despite this, much of the literature on VLEs has concentrated on producing typologies by listing and comparing system functions, describing small scale and short duration applications or providing speculative theories and predictions. Little attention has so far been paid to analysing what effects a VLE’s use has on the participants and the context of use, particularly across a large group of users and over a substantial period of time. This work presents the evaluation of a VLE developed and used to support undergraduate medical education at the University of Edinburgh since 1999. This system is called ‘EEMeC’ and was developed specifically within and in support of its context of use. EEMeC provides a large number of features and functions to many different kinds of user, it has evolved continuously since it was introduced and it has had a significant impact on teaching and learning in the undergraduate medical degree programme (MBChB). In such circumstances evaluation methodologies that depend on controls and single variables are nether applicable or practical. In order to approach the task of evaluating such a complex entity a multi-modal evaluation framework has been developed based on taking a series of metaphor-informed perspectives derived from the organisational theories of Gareth Morgan(Morgan 1997). The framework takes seven approaches to evaluation of EEMeC covering a range of quantitative and qualitative methodologies. These are combined in a dialectical analysis of EEMeC from these different evaluation perspectives. This work provides a detailed and multi-faceted account of a VLE-in-use and the ways in which it interacts with its user community in its context of use. Furthermore, the method of taking different metaphor-based evaluation perspectives of a complex problem space is presented as a viable approach for studying and evaluating similar learning support systems. The evaluation framework that has been developed would be particularly useful to those practitioners who have a pressing and practical need for meaningful evaluation techniques to inform and shape how complex systems such as VLEs are deployed and used. As such, this work can provide insights not just into EEMeC, but into the way VLEs are changing the environments and contexts in which they are used across the tertiary sector as a whole.

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LeFils, Gregory William Jr. "History of the Stetson University Concert Choir". Thesis, The Florida State University, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=3638022.

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The Concert Choir has been the flagship choral ensemble of Stetson University, a private, liberal arts university in DeLand, Florida, since 1935. The choir has traveled extensively throughout the southeast United States and twice abroad, serving as ambassadors for Stetson University. This study documents Stetson University's early history, the first few decades of choral activity at Stetson University, and the complete history of the Concert Choir through the tenure of Milburn Price. The study explores 1) the individuals, events, and institutions leading to the formation of the Concert Choir, 2) the philosophy and purpose of the Concert Choir, 3) the individuals, events and institutions that have shaped that philosophy and purpose, and 4) the ways in which the Spring Concert repertoire of the Concert Choir reflects the ensemble's philosophy and purpose.

The three major conductors of the Concert Choir, occupying 71 of the last 77 years, were Harold Giffin (1935-1972), Robert Rich (1972-1989), and Duncan Couch (1989-2006). Giffin was responsible for combining the separate glee clubs into one performing ensemble, performing Handel's Messiah annually for twenty-five years, and instituting an extensive touring schedule throughout the United States. The performances at the National Federation of Music Clubs (1939), New York City's Lincoln Center (1967), and the recording session that was broadcast coast-to-coast with NBC in Chicago (1953) were three of Giffin's tours that were most significant. Rich was the first alumnus of the Concert Choir to be hired as Director of Choral Activities and conducted the ensemble for their first ACDA convention performance in 1974. During his tenure, the High School Choral Clinic and Christmas Candlelight Concert, modeled after the English Lessons and Carols, were started and have continued annually throughout the scope of this study. Couch grew the popularity of both the clinic and the Candlelight Concert, took the Concert Choir on two European concert tours, and cultivated collaborations with many professional orchestras.

This study concludes that the Concert Choir is a choral organization influenced by the sacred a cappella choral traditions; however, it was not dominated by it. This study further identifies that the development of the annual Christmas Candlelight Concert and spring tour were foundational for the choir's activities each year. Documentation illustrates each director's willingness to accept this heritage and develop the Concert Choir accordingly throughout its history.

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Carfoot, Gavin Steven. "Deleuze and music : a creative approach to the study of music /". [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18365.pdf.

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Polydorou, Nikoletta. "Exploring approaches to teaching music history at university". Thesis, University of Roehampton, 2015. https://pure.roehampton.ac.uk/portal/en/studentthesis/exploring-approaches-to-teaching-music-history-at-university(0a7d95fa-5623-421d-a890-b2fd16bce397).html.

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Music history is a core requirement for most undergraduate music degrees. The purpose of this study is to investigate the status of music history teaching in music degrees in Higher Education (HE) in four different countries (Cyprus, the Czech Republic, Greece and England). It also aims to evaluate a new music history teaching model that was developed for a university in Cyprus. The new model consists of approaches focused on a student-centred learning method that introduces the use of primary sources and cooperative learning. Three studies were conducted: a qualitative study (Study 1), a mixed methods study (Study 2) and a qualitative evaluation study (Study 3). In Study 1, music history teachers (N=6) were recruited from universities in Cyprus. Study 1 employed Interpretative Phenomenological Analysis (IPA) using the data from semi-structured interviews. In Study 2, music history teachers (N=11) were recruited from the Czech Republic, Greece and England to participate in a qualitative study, and their thinking was compared to a further sample of undergraduate music students (N=86) who were recruited from the Czech Republic, Greece and England. Study 3 designed and tested an intervention in Cyprus evaluating a new approach to teaching music history. The study was evaluated through a pre-test and a post-test questionnaire. Engeström’s culturalhistorical activity theory was used to analyse the findings of all three studies. Results revealed that the most frequent teaching approaches used in music history courses are lectures, the use of audio and audiovisual materials and discussion. While teachers from the Czech Republic, Greece and Cyprus use a teacher-centred learning approach, most teachers from England apply student-centred learning approaches to music history courses. Students from the participating countries generally perceive music history as having relatively little value and they are not satisfied with the existing teaching approaches. A number of them further question traditional approaches to teaching music history. Upon completion of the qualitative evaluation study in Cyprus, students gained a more positive opinion of music history and approved of the new teaching approaches that were used.

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Gerber, Casey Lynn. "Ear training and music reading methods used by Philip C. Hayden : music literacy through rhythm forms /". Full text available from ProQuest UM Digital Dissertations, 2008. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1850417161&SrchMode=1&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1279215869&clientId=22256.

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Thesis (Ph.D.)--University of Mississippi, 2008.
Typescript. Vita. "May 2008." Major professor: Alan L. Spurgeon Includes bibliographical references (leaves102-113). Also available online via ProQuest to authorized users.

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Langager, Graeme Michael Allyn. "Of Text and Tune: The Relationship Between Words and Music in the Choral Music of Gerald Finzi". Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155575211.

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West, Susan, i susan west@anu edu au. "A new paradigm in music education : the Music Education Program at The Australian National University". The Australian National University. Centre for Educational Development and Academic Methods, 2007. http://thesis.anu.edu.au./public/adt-ANU20090816.132910.

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This thesis describes a qualitative action research process undertaken in the field over approximately eight years of the development of an alternative paradigm for music education. This new paradigm evolved from a simple, practical approach that was not, in the first instance, designed to be transformational, but which quickly showed itself to have potential for providing a different model for conceptualising musical engagement. ¶ It is argued that the standard and widely accepted approach to music education has aspects that does not encourage on-going music making. This study conceptualises that traditional Western approach in terms of a virtuosic mountain that prioritises and rewards technical achievement. The concept of the virtuosic mountain is developed in terms of three Ps: Perfection, Practice and Performance. The concept was developed by not just reviewing current literature but also by analysing that literature in light of the developing new paradigm as a means of comparing and contrasting the approaches. ¶ Called The Music Education Program, this new paradigm is based on a practical approach to the sharing of music making beyond institutional boundaries like the school gate. Children do not perform in the community but seek to engage others in making music with them without reference to age, disability or skill level. The focus is on the social outcomes that derive from music making rather than the improvement of skills, which develop as a natural part of community engagement. In this respect, the approach has roots in community enculturation processes that are no longer prominent in Western society. ¶ The new paradigm is presented with a contrasting set of three Is: Intent, Identity and Involvement, which are designed to illustrate how the community outreach of the Music Education Program provides a model for consciously reconceptualising our approach to music education through re-visiting what might be regarded as old practices in a new guise. The three Is are illustrated through a series of critical incidents that highlight the necessary change in theoretical underpinnings that the practical application of the Program demands. This includes a particular focus on the Intent behind our music making, rather than the quality in terms of technomusical outcomes; stress on the individual and group choices that develop musical Identity; and demonstration of the ways in which this paradigm may contribute to voluntary, rather than enforced, Involvement. ¶ The critical incident data is supplemented by some survey and evaluation data which supports the view that the social component of musical engagement provides an alternate focus to musical development than does an achievement paradigm. The range of data collected shows that classroom teachers can take a significant role in the encouragement of music making in the primary school without relying solely on the expertise of those with specific musical training; and that overcoming negative attitudes and experiences can transform not only the teachers relationship with music but produce a positive effect on her students. ¶ The model described here has evolved through a longitudinal process that constantly maintains the centrality of the practical operation of the program. In so doing, it moves away from theoretical constructs that often do not seem to relate directly to practitioners but, at the same time, it avoids prescriptive methodology. Theory is elucidated through practice in a way that encourages teachers to develop their own practices that are consistent with underlying principles. This model is transformative in nature, having first a transformative effect on the principal researcher and thence on those teachers engaging in professional development with the Program. ¶ Since the Music Education Program does not yet have students who have exited the school system, this study does not attempt to claim success in the long-term in terms of promoting ongoing engagement through life. Data suggest, however, that it has had an impact in encouraging teachers to reconnect with music making and enables them to share that music making with their students, thereby helping to develop more school-based musical engagement that is also affecting the broader community in the Australian Capital Territory.

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Branscome, Eric E. "Music Career Opportunities and Career Compatibility: Interviews with University Music Faculty Members and Professional Musicians". Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28398/.

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This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music careers that may change the professional expectations of these careers.

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Komlósi, Péter Attila. "Dual aspects of ministerial training in late sixteenth century : Edinburgh's 'Tounis College' and the formation of ministers' early career with special regard to the Exercise'". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8174.

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This thesis examines the transformation of the clergy in the late sixteenth century Scotland in which ministerial training had a crucial role to play both in the academia and in the Kirk. In order to demonstrate this transformation attention will be focused on the training of ministers at the Town College, Edinburgh and then following the unfolding of their ecclesiastical career including the ‘exercise’. The foundation of the ‘Tounis College’ in Edinburgh is placed within the broader context of the expansion of higher education throughout Europe. A college project had been in the mind of the Edinburgh Town Council since 1561 and had been resurrected from time to time until its final realisation in 1583. The newly-erected college was headed by Robert Rollock, a young and ambitious scholar from St Andrews, who was first the Professor of Divinity and then the Principal. Under his leadership both as a theologian and a churchman the institution became a place of higher learning that shaped the development of the different Scottish professions in general and the transformation and the emergence of the protestant clergy as a new professional elite, in particular. This thesis also provides a detailed analysis on the early career patterns of the College’s ministerial graduates by examining a) their family background, especially those who came from clerical families b) their way into ministry in the Kirk including the “gap-years” spent in another professions or elsewhere upon graduation c) their dissemination through central Scotland. Particular attention is given to the role of the ‘exercise’, as one of the most important functions of the presbytery, in examining and admitting candidates to their charges as well as providing other presbytery members with further training in preaching and theology.

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Cheung, Wing-him Edward. "HKU extension : Music & Fine Arts complex /". Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25948647.

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McEwen, Yvonne Therese. "In the company of nurses : the history of the British Army Nursing Service in the Great War, Edinburgh University Press, October 2014". Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/23436.

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This is the first monograph to be published on the work of the Queen Alexandra's Imperial Military Nursing Service (QAIMNS) in the Great War. The historiography of British military nursing during this period is scant, and research based monograph are negligible. What exists, does not focus specifically on the work of the Queen Alexandra's Imperial Military Nursing Service, (QAIMNS) the Reserve, (QAIMNSR) or the Territorial Force Nursing Service (TFNS) but tends to concentrate on the work of the volunteer, untrained, Voluntary Aid Detachment (VAD) nurses. Unfortunately, this has resulted in factually inaccurate representations of British WW1 nursing. The mass mobilisation of nurses by professional and voluntary nursing services led to rivalry between the different groups and my research addresses the relationship that develop between the trained and volunteer nurses. Also, my research examines the climatic and environmental conditions that impacted upon the effective delivery of nursing and casualty care and the mismanagement of services and supplies by the War Office and the Army Medical Services. Additionally, the political controversies and scandals over inadequate planning for the care, treatment and transportation of mass casualties is addressed. Furthermore, diseases and traumatic injuries sustained by nurses on active service are examined and, shell-shock, hitherto considered a combatants' condition is cited in relation to mental health issues of nurses on active service. Moreover, my research examines the deaths and disability rates within the ranks of nursing services. My research features individual awards for acts of bravery and mentioned in Dispatches. On the Home Front the politics of nursing are addressed. Nurses campaigned for professional recognition and many were supportive of universal suffrage and they argued for both professional and personal liberation. The struggle for professional recognition led to divisions within the civilian nursing leadership because they failed to arrive at a consensus on the content of the Nurse Registration Bill. Also, the supply of nurses for the war effort was consistently problematic and this led the Government to establish the Supply of Nurses Committee. Before it had its first sitting it had already become contentious and controversial. The issues are discussed. Using extensive primary sources, the monograph moves away from the myths, and uncritical and overly romanticised views of WW1 military nursing. It is hoped that by examining the personal, professional and political issues that impacted upon nurses the monograph will make a significant contribution to the historiography of WW1 military nursing and to the history of the Great War more generally.

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Wyder, Gretchen E. "The History of The Ohio State University Symphony Orchestra and String Faculty". The Ohio State University, 1995. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391766067.

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Straw, Millard Michael. "Missouri high school music students' perceptions of recruitment techniques utilized by college and university music departments /". free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9823326.

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Barrowcliffe, Kelly D. "The knowledge of playing-related injuries among university music teachers". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ42049.pdf.

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Paradza, James Chikomborero. "Feminist themes in Beyoncé's music as perceived by university students". Diss., University of Pretoria, 2020. http://hdl.handle.net/2263/77306.

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This study explores the perceptions of fifteen students from the University of Pretoria’s School of the Arts about the feminist themes in Beyoncé’s music. Beyoncé is a self-proclaimed feminist who advocates for women through her music. An extensive literature review reveals how she can be considered a feminist icon within the popular music genre by considering the development of feminism, feminist theories and themes, and popular music as a locus of social change in popular culture. This feminist case study followed a qualitative research approach within an interpretivist framework. The music videos considered for the study were “If I Were a Boy” (2008), “Diva” (2009), “Run the World (Girls)” (2011), “Pretty Hurts” (2013), “Flawless” (2014) and “Grown Woman” (2014). The data was collected from semi-structured interviews and was analysed using reflexive thematic analysis. The themes revealed that these South African students perceived the feminist themes in Beyoncé’s music as empowering and relatable, but sometimes directed towards the male gaze.
Dissertation (MMus (Performing Art))--University of Pretoria, 2020.
Music
MMus (Performing Art)
Unrestricted

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Knedler, John Michael. "A history of the University of Oklahoma band to 1971 /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1994.

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Ko, Eunbyol. "Music and Image a performer's guide to Maurice Ravel's Miroirs /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1172781745.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Title from electronic thesis title page (viewed Apr.3, 2007). Includes abstract. Keywords: Ravel; Miroirs; Performer's Guide; Image; Impressionism; Symbolism; Eunbyol Ko Includes bibliographical references.

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Kim, Hyun Kyung. "Cross-culturalism in Spanish and French piano music, 1900-1910". Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1242913760.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.
Advisor: Jonathan Kregor. Title from electronic thesis title page (viewed Aug. 3, 2009). Includes abstract. Includes bibliographical references.

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Triantafyllaki, Angeliki. "Instrumental music teachers' professional identity and practice in a Greek University Music Department and a Conservatoire workplace". Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611978.

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Hanson-Dvoracek, Andrew. "Julius Eastman's 1980 residency at Northwestern University". Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/1226.

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Post-minimalist American composer Julius Eastman's residency at Northwestern University in 1980 provides a rare opportunity to mitigate, if not eliminate, the problems involved in defining his compositional style. Eastman occupies a complex and unlikely position in late twentieth-century music as an openly gay, African-American composer of serious art music who both a member of the Creative Associates at SUNY Buffalo as well as participated in the diverse musical culture of Downtown New York. Eastman's surviving scores are notated in a fragmentary and idiosyncratic fashion and the composer's outrageous personality left few people with whom he worked closely or on a regular basis. However, scores of three of Eastman's works survive. Crazy Nigger, Evil Nigger, and Gay Guerilla were performed on January 16, 1980, as the culmination of Eastman's residency at Northwestern. Eastman's use of inflammatory was influenced by the political timeframe of their composition, particularly black cultural narratives and the state of gay rights conflict in the era between Stonewall and the AIDS crisis. Drawing upon newspaper reports, early scholarship on Eastman's biography, and interviews with concert participants, this thesis documents the rehearsal process and the controversy surrounding the titles of the works. For Members Only, the black student organization at Northwestern, protested advertisements of the concert in the midst of their own conflict with the student government. A viable analytical framework for Eastman's works draws from the techniques of earlier minimalist theorists, including John Roeder's adaptation of set theory. Crazy Nigger, the earliest and longest of the three works, provides to be the least complex example of Eastman's "vertically additive process." Whereas composer Philip Glass extends an original melodic kernel by adding notes horizontally, Eastman adds notes vertically to create increasingly dense textures. Evil Nigger's use of the process is more complicated, introducing additional elements such as ostinati and de-emphasizing the kind of sectional form found in Crazy Nigger. In Gay Guerilla, the last of the three works to be composed, Eastman totally obscured any salient perception of form by eliding several simultaneous occurrences of the vertically additive process and introducing a quotation of the Lutheran chorale "Ein feste Burg." With these three analysis, a more generalized concept of Eastman's compositional style thus consists of his vertically additive process, the introduction of modernist harmony into minimalist technique, the use of hendecachords (11-note sets), a gradual dissolution with the sectional form dominant in concert-length minimalist works, and a move away from post-modernity that Eastman termed "organic music."

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Poyser, Rachel. "University music students' thinking about performance : cultural creativity in an educational context". Thesis, University of Hull, 2014. http://hydra.hull.ac.uk/resources/hull:13586.

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This research seeks to explore the knowledge and beliefs of university music performance students, and to see whether any pattern(s) or framework(s) of theory can be postulated. The research also considers the impact on this framework of the educational context, especially the performance assessment element. Relatively little is known about students’ views of music, including its performance, and how these views are affected by experiences of higher education (see Hallam, 2006; Mills, 1996; Pitts, 2002). The project forms a case study of second/third year music students at the University of Hull in the academic year 2007-8. The study is situated within the field of music education, although I will be drawing on and appealing to other research paradigms in my account of the data, including ethnographic accounts of musicians in various contexts (e.g. Cohen, 1991; Finnegan, 1989), and sociological theories of cultural work (e.g. Willis, 1978; 2000). The findings will contribute to music education, to the philosophy and psychology of music within the broader field of musicology, and to sociocultural studies. Ethnographic methodology was used to elicit accounts of students’ experiences and thoughts through interviews, informal discussions, participant observations of rehearsals, and nonparticipant observation of lessons and classes. Specifically, the aim was to investigate the students’ understandings of the phenomenon of music performance, and of their roles as performers; and to ascertain their views of the ‘culture’, or the ‘world’, of performing music, especially within the educational context of the university. Data gathering took place early in the study; analysis of data then began formally, and preliminary findings began to emerge, while relevant literature in the field of music education, music philosophy, ethnography and ethnomusicology was examined, with a view to contextualising the study amongst investigations within and outside the musicological domain. The findings sit within the relatively recent corpus of research known as critical musicology. Although the intention of the research is not necessarily to inform future practice, either within the institution in which the fieldwork took place, or in other music education establishments, the empirically-derived, grounded theory emerging from this study may be considered sufficiently interesting to have the potential to influence policy in such institutions as aim to provide music education.

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Lesch, Felicia Sharron Margaret. "The Certificate Programme in Music : a means of broadening access to higher music education studies at the University of Stellenbosch". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/4104.

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Thesis (MMus (Music))--University of Stellenbosch, 2010.
ENGLISH ABSTRACT: The Department of Music at Stellenbosch University (SU) established the Certificate Programme in Music (CP) in 1999. The programme was created to fulfil a multi-faceted role that would equip potential students who display a high level of musicality, but do not fulfil admission requirements to music studies at Higher Education level. Initially, the programme was targeted at previously disadvantaged individuals who had had no opportunity to receive formal music tuition. Thereafter, the balance shifted to include all students with diverse cultural backgrounds but with no or insufficient prior musical tuition. Problems experienced by universities globally include growing numbers of students displaying lower levels of academic literacy and the number of potential music students who have not reached the standard required on their instruments or in music theory. Changes to programme content were made as courses were adapted; an example is the Higher Certificate in Music which will soon be a university-accredited qualification. A preparatory course in Music Technology was created for musicians already involved in the music industry, wanting to upgrade their skills or prepare themselves for admission to the BA with Music (Route: Technology) degree. The objective of this research endeavour was to launch an in-depth investigation into all aspects of the CP. The grounded theory approach of Strauss and Corbin (1990) formed the foundation to the study. Data consisted of records from the CP, interviews and questionnaires. The research design was based on the conditional matrix of Strauss and Corbin (1990). CP data was compared to national policies governing Higher Education, to SU policies regarding community interaction, and to SU's strategic framework. Categories for investigation included concepts such as motivation, self-regulation, service learning and the development of emotional intelligence in students. Change theories were explored as a theoretical framework for the CP to cope with the ever-changing landscape of high school education. Establishing partnerships which are mutually beneficial to the community and the university is listed as an important component of the community interaction policy at SU, and was found to be a significant component of the CP.
AFRIKAANSE OPSOMMING: Die Departement Musiek by die Universiteit van Stellenbosch (US) het die Sertifikaatprogram in Musiek (SP) in 1999 gevestig. Die program is ontwerp om 'n uiteenlopende rol te vervul vir voornemende musiekstudente wie musiektalent toon, maar wie nie aan die nodige toegangsvereistes voldoen om musiekstudie op Hoër Opvoedkundige vlak te neem nie. Aanvanklik was die program gemik op voorheenbenadeelde persone wat nie die geleentheid gehad het om formele opleiding in musiek te ontvang nie. Daarna het die behoefte verskuif deur studente uit verskeie kulturele agtergronde, wie nie vorige musiekopleiding gehad het nie, in te neem. Wêreldwyd ervaar universiteite onder andere probleme met studente wat toenemend laer vlakke van akademiese geletterdheid toon, asook met die groeiende getal studente wat nie die nodige vlak in prakties sowel as musiekteorie bereik nie. Veranderinge is aangebring in die program en kursusinhoude is gewysig om verdere opleidingsmoontlikhede te bewerkstellig; die Hoërsertifikaat in Musiek is een voorbeeld – dit sal binnekort 'n universiteits-geakkrediteerde kwalifikasie wees. 'n Voorbereidende kursus in Musiektegnologie is spesiaal geskep vir kandidate wat reeds in die musiekbedryf is, of wat voorbereiding vir toelating tot die graadkursus BA met Musiek (rigting: Tegnologie) nodig het. Die doelwit van hierdie navorsing is om ŉ deeglike ondersoek in alle aspekte van die SP na te gaan. Strauss en Corbin (1990) se gegronde teorie was die uitgangspunt vir hierdie ondersoek. Die data bestaan uit aantekeninge van die SP, onderhoude en vraelyste. Die navorsingsontwerp is gebaseer op die voorwaardelike matriks van Strauss en Corbin (1990). Die SP se data is vergelykbaar met die regering se nasionale beleid met betrekking tot Hoër Onderwys, sowel as die US beleide sover dit betrekking het op die gemeenskapsinteraksie en die strategiese raamwerk van US. Kategorieë wat ondersoek is, sluit onder andere konsepte soos motivering, selfgereguleerde, diensleer en die ontwikkeling van emosionele intelligensie in. Die vestiging van vennootskappe met wedersydse voordeel vir beide die universiteit en die gemeenskap is aangewys as 'n belangrike komponent van die gemeenskapsinteraksie beleid by US. By hierdie ondersoek is vasgestel dat dit ŉ groot komponent van die SP is.

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Dasher, Shannon Flatt. "It's time to face the music singing the praises of popular music in today's curriculum /". Click here to access dissertation, 2008. http://www.georgiasouthern.edu/etd/archive/fall2008/shannon_f_dasher/Dasher_Shannon_F_200808_edd.pdf.

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Thesis (Ed.D.)--Georgia Southern University, 2008.
"A dissertation submitted to the Graduate Faculty of Georgia Southern University in partial fulfillment of the requirements for the degree Doctor of Education." Directed by John A. Weaver. ETD. Includes bibliographical references (p. 161-167) and appendices.

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Mann, Jonathan Edward. "Red, white, and blue notes: the symbiotic music of Nikolai Kapustin /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?ucin1179852881.

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Thesis (Dr. of Musical Arts)--University of Cincinnati, 2007.
Advisor: James V Tocco Title from electronic thesis title page (viewed Nov. 17, 2007). Includes abstract. Keywords: Nikolai Kapustin Classical Jazz Piano Includes bibliographical references.

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Champion, Susan Michele. "The musical activities found in selected Orff-Schulwerk elementary music classrooms /". Full text available from ProQuest UM Digital Dissertations, 2006. http://0-proquest.umi.com.umiss.lib.olemiss.edu/pqdweb?index=0&did=1410676541&SrchMode=1&sid=5&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1218549012&clientId=22256.

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Slight, Claire Louise. "Exploring the university to career transitions of UK music postgraduate students". Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/13219/.

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This thesis explores the experience of studying taught music master’s degrees by observing both student and higher education perspectives. Little is currently known about the career transitions of taught postgraduate students, as until recently research has tended to focus upon undergraduates and research postgraduates. Additionally, much of the research on musicians’ career transitions has considered music education and performance students. The current thesis focuses upon musicology and music psychology degrees which were non-vocational and lacked compulsory music-making course content. A two stage study was conducted. Stage one involved longitudinal interviews with sixteen student participants who were all enrolled at three English institutions at the beginning of the study. Participants took part in four semi-structured interviews at six month intervals. The aim of these interviews was to observe the students’ experiences during and after their master’s study. Alongside this, stage two aimed to explore the higher education perspective by interviewing course tutors and careers advisors attached to each of the students’ courses. Qualitative analytical methods were used and a social psychology perspective was taken when considering the student experience. This approach highlights the reciprocal interaction between the self and the social environment. The career transition involved a period of personal and vocational development during which individuals were transformed through learning. Participants were motivated to realise a greater sense of personal fulfilment by pursuing their interests and achieving personal goals. The participants’ confidence in their professional practice increased and they developed greater self-awareness which was beneficial when deciding upon career plans. However, students’ coping methods and the extent of their exploration impacted upon their experiences of studying and the career transition. The results highlight the need for clear pre-enrolment information and flexible course structures in order to support students’ developing professional identities.

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Phillips-Farley, Barbara C. "A history of the Center for New Music at the University of Iowa, 1966-1991". Diss., University of Iowa, 1991. https://ir.uiowa.edu/etd/4937.

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Willson, Simon. "A portfolio of compositions presented for the degree of PhD in music composition at the University of Aberdeen". Thesis, University of Aberdeen, 2009. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=136866.

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This portfolio presents seven compositions composed for different instrumental and vocal forces, accompanied by a commentary and recordings of some of these works. Across the seven pieces there has been a concern with building longer-term structures; establishing a stronger developmental style; and with moving towards a more systematised approach to harmony as a way of creating a harmonic language that can underpin development more efficiently. Several of the works show a direct engagement with the issue of form, which is approached from the perspective of Classical models, the listener’s perception and in the context of a highly chromatic harmonic language. In contrast, two works (Aubade and So Turn Your Heart) engage more directly with diatonic models of harmony. The dominant concern across all the works presented has been the desire to create developmental, direct music in which the notion of transformation, rather than stasis and ritual, are of paramount importance. From a melodic, harmonic and structural point of view each work represents different ways in which this has been attempted. The commentary that accompanies the works explores many of these ideas in more detail as well as setting out the origins and development of each composition. There is also an explanation as to how the initial material was decided upon and utilised during the compositional process. The commentary then concludes with a summary of what has been achieved over the course of the programme and where this might lead in the future.

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Lo, Ling-I. "Music education reform in Taiwan: beginning music teachers' perceptions of their teacher preparation at National Taiwan Normal University". Thesis, Boston University, 2014. https://hdl.handle.net/2144/11121.

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Thesis (D.M.A.)--Boston University
The purpose of this study was to investigate beginning music teachers' perceptions oftheir music teacher preparation at National Taiwan Normal University (NTNU) regarding the Arts and Humanities field of the Grade 1-9 Curriculum. Research questions focused on discovering the most and least effective components of undergraduate training at NTNU, identifying the missing components that might have helped beginning music teachers begin their profession more effectively, and having graduates involved in program improvement by presenting their recommendations. A descriptive analysis was conducted on the data received from 129 graduates from the music department ofNational Taiwan Normal University (NTNU). Of the 129 respondents, 69 took teacher education courses and were prospective music teachers. However, due to an overabundance of certified teachers in Taiwan, only 27 of the 69 graduates were able to obtain teaching positions. Beginning music teachers' experiences with student teaching, course content (Research in Music Teaching Materials and Methods), and applied music (voice), while in the teacher preparation program, helped prepare them to enter and be successful in the secondary music classroom. On the contrary, theoretical courses and advanced musicianship training were reported disconnected from the actual working experiences of beginning music teachers. The components which beginning music teachers expressed they wished had been taught in the undergraduate training program included teaching methods, classroom management, communication skills, knowledge of subject content (i.e., performing arts), music technology, and the theory of curriculum integration design and practice. In the hope of improving the shortcomings and linking the disconnections between training and work, beginning music teachers recommended the music teacher preparation program at NTNU increase the amount of coursework related to classroom realities, extend student teaching, provide more opportunities for classroom observations as well as professional development, and offer teacher education courses earlier in the program.

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Stewart, Shawna Lynn. "Charles C. Hirt at the University of Southern California| Significant contributions and an enduring legacy". Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3564029.

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Dr. Charles Hirt and the Department of Church and Choral Music at the University of Southern California (USC) produced some of America's most successful choral conductors and administrators. Many of those students are conducting or administrating at the finest colleges and universities, secondary schools, churches, and community choral organizations in the nation. From the earliest moments of his career, Charles Hirt himself received a seemingly endless string of accolades. Always focused on the betterment and future of the choral arts, he was a "founding father" of significant choral organizations such as the American Choral Directors Association (ACDA), Choral Conductors Guild of California, and the International Federation of Choral Music. It was also his visionary mindset that served as a hallmark of his tenure at USC and arguably earned him the right to stand as an equal alongside the greatest of American choral conductors.

It is the aim of this study to examine Hirt's significant contributions to the University of Southern California and his legacy as it continues on in his students and the subsequent generation of choral leaders they generated.

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McCammon, William Lodge. "Chemistry to Music: Discovering How Music-Based Teaching Affects Academic Achievement and Student Motivation in an 8th Grade Science Class". NCSU, 2008. http://www.lib.ncsu.edu/theses/available/etd-06122008-160544/.

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Teachers should have access to new and innovative tools in order to engage and motivate their students in the classroom. This is especially important as many students view school as an antiquated and dull environment â which they must seemingly suffer through to advance. School need not be a dreaded environment. The use of music as a tool for learning can be employed by any teacher to create an engaging and exciting atmosphere where students actively participate and learn to value their classroom experience. Through this study, a product and process was developed that is now available for any 8th grade science teacher interested in using music to enhance their content. In this study 8th grade students (n=41) in a public school classroom actively interacted with modern songs created to enhance the teaching of chemistry. Data were collected and analyzed in order to determine the effects that the music treatment had on student achievement and motivation, compared to a control group (n=35). Current literature provides a foundation for the benefits for music listening and training, but academic research in the area of using music as a tool for teaching content was noticeably absent. This study identifies a new area of research called âMusic-based Teachingâ which results in increases in motivation for 8th grade students learning chemistry. The unintended results of the study are additionally significant as the teacher conducting the treatment experienced newfound enthusiasm, passion, and excitement for her profession.

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Allen, Milton. "An index of wind band literature analyses from periodicals and university research". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1148431169.

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Griswold-Nickel, Jennifer Ann. "Hugo Wolf's Penthesilea an analysis using criteria from his own music criticism /". Cincinnati, Ohio : University of Cincinnati, 2007. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1196011316.

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Thesis (Master of Music)--University of Cincinnati, 2007.
Advisor: Mary Sue Morrow. Title from electronic thesis title page (viewed Feb. 6, 2008). Includes abstract. Keywords: Hugo Wolf; Penthesilea; symphonic poem; Heinrich von Kleist; music criticism; Vienna; Wiener Salonblatt; compositional aesthetic Includes bibliographical references.

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Flora, Sim A. "An analytical anthology of improvised solos designed to supplement the formal teaching of jazz improvisation and jazz theory at the university level /". Full-text version available from OU Domain via ProQuest Digital Dissertations, 1990.

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Kyakuwa, Julius. "Exploring African musical arts as community outreach at the University of Pretoria". Diss., University of Pretoria, 2016. http://hdl.handle.net/2263/60374.

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Ninmer, Andrew J. "Non-curricular elements to a successful university jazz performance program| A study of UNT, IU, and CSULB". Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528009.

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This project report examines the importance of non-curricular elements in a successful collegiate jazz performance program. In order to understand what makes a program successful, this paper first reviews the history of three successful jazz programs—Indiana University (IU), University of North Texas (UNT), and California State University, Long Beach (CSULB)–and evaluates the components that led to their success. After a brief introduction of these three programs, the non-curricular elements that help to form each successful university jazz performance program are examined. Oftentimes, non-curricular elements are perceived as non-essential and therefore their benefits are not fully realized. Using IU, UNT, and CSULB as a benchmark, this project report examines their approaches to non-curricular ideas. This study will provide an understanding of how a prospective student might prepare for and benefit from these elements as part of a comprehensive collegiate jazz performance program.

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George, Susan B. "Music and learning resources : a natural combination /". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape7/PQDD_0033/MQ47451.pdf.

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Li, Rui. "OVERCOMING INITIAL HURDLES: STRATEGIES FOR DEVELOPING A UNIVERSITY FREE IMPROVISATION ENSEMBLE". UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/52.

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New free improvisers may come across six major problems as they learn to improvise: imbalance between technique and music, incorrect perception of limitation, imbalance between rationality and emotion, lack of enthusiasm, inability to view criticism as a source of creativity, and misunderstanding of mistakes and risks. In this thesis, I propose a set of effective pedagogical tools as possible solutions for students and groups interested in exploring the beauty of free improvisation.

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Spencer, Steven John. "Musicians at the margins : a case study of the role of instrumental music teachers in a university music department". Thesis, University of Wolverhampton, 2015. http://hdl.handle.net/2436/561191.

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This study presents the outcomes of an exploration of the ways in which instrumental music teachers (IMTs) engaged to teach in UK university departments experience their work and interpret their role. It provides the basis for realistic steps for enriching their contribution to and relationship with the department in which they are situated. The area of activity was examined through a qualitative research approach within a single case study design that highlights the particularities and complexities of the case and of its context. It progressed through semi-structured interviews, document review, job-shadowing and a research diary that engaged participants in an iterative process aimed at generating rich descriptions of the situation and increasing the veracity of its subsequent interpretation. The findings echo the isolated location found in earlier studies of IMTs in HE (Burwell, 2005; Haddon, 2009; Purser, 2005, Young et al, 2003) but note that they did not display the secretive or isolationist tendencies previously espoused. Instead there was a narrative of neglect and exclusion by the employer that contributed to a low sense of entitlement from these employees who occupy a peripheral and static position at the margins of departmental operations. It concludes that IMTs do not form a convenient organisational sub-unit (Weick and Orton, 1990) or a community of practice (Lave and Wenger, 1991) that would respond in a uniform fashion. Instead, they experience their engagement with the university in an individual manner framed by their personal and professional environment or umwelt (Uexküll, 1985) and interpreted according to their particular interests, needs and priorities. Finally it suggests that the employing department must recognise this diversity and facilitate greater participation of its IMTs through the creation of permeable boundaries that permit but do not require involvement in curriculum design and assessment, teaching innovations and research into instrumental pedagogy.

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Palacz, Michal Adam. "Polish School of Medicine at the University of Edinburgh (1941-1949) : a case study in the transnational history of Polish wartime migration to Great Britain". Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/31032.

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More than 400 Polish medical refugees were associated with the Polish School of Medicine (PSM) at the University of Edinburgh between 1941 and 1949. This dissertation argues that the history of the PSM can fully be understood only as a part of the refugees’ broader experience of impelled or forced migration during and immediately after the Second World War. The key findings of this case study demonstrate that the opportunity to study or work at the PSM enabled the majority of Polish exiles to overcome, to a varying extent, their refugee predicament, while medical qualifications, transferable skills and trans-cultural competency obtained in wartime Britain allowed them to pursue professional and academic careers in different countries of post-war settlement, thus in turn contributing to a global circulation of medical knowledge and practice, especially between the University of Edinburgh and Poland. This specific case study contributes to the existing knowledge of Polish wartime migration to Britain in three interrelated ways. Firstly, an overarching transnational approach is used to combine and transcend Polish and British scholarly perspectives on, respectively, emigration or immigration. Secondly, the conceptual insularity of the existing literature on the topic is challenged by analysing archival, published and digital sources pertaining to the PSM with the help of various theoretical models and concepts borrowed from forced migration and diaspora studies. Thirdly, the conventional historiography of Polish-British wartime relations is challenged by emphasising the genuinely global ramifications of the PSM’s history. By interpreting the history of the PSM with the help of different analytical tools, such as Kunz’s and Johansson’s models of refugee movement and Tweed’s theory of diasporic religion, this dissertation provides a conceptual blueprint for further research on Polish wartime migration to Britain. In turn, this case study contributes to the development of forced migration and diaspora studies not only by empirically testing the explanatory power of existing theoretical models, but also by suggesting possible new conceptual avenues, such as analysing the pre-existing trans-cultural experiences of both Polish medical refugees and their hosts at the University of Edinburgh, and adding to the ‘triadic relationship’ of diaspora, homeland and host society a fourth dimension, i.e. conflict and cooperation between different migrant or refugee communities within the same host society.

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Rozprawy doktorskie na temat „University of Edinburgh. Music”

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