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1
Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.
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Waugh, Deborah. "Nexus : integrating musical traditions /." Thesis, View the Table of Contents & Abstract, 2007. http://sunzi.lib.hku.hk/hkuto/record/B37120335.
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Feldmeier, Mark Christopher 1974. "Large group musical interaction using disposable wireless motion sensors." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/33547.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.<br>Includes bibliographical references (p. 113-114).<br>One of the difficulties in interactive music and entertainment is creating environments that reflect and react to the collective activity of groups with tens, hundreds, or even thousands of participants. Generating content on this scale involves many challenges. For example, how is the individual granted low latency control and a sense of causality, while still allowing for information retrieval from all participants so that the environment responds to the behavior of the entire group? These issues are particularly pertinent in the area of interactive dance. To address these issues, a low-cost, wireless motion sensor has been developed. The sensor is inexpensive enough to be considered disposable, allowing it to be given away to participants at large dance events, enabling the dancers to participate concurrently in a realtime, interactive musical performance. The sensors are either worn or held by participants and transmit a short RF pulse when accelerated past a certain threshold. The RF pulses are received by a base station and analyzed to detect rhythmic features and estimate the general activity level of the group. These data are then used to generate music that can either lead or follow the participants' actions, thereby tightening the feedback loop between music and dancer. Multiple tests of the system have been conducted, with groups ranging from fifteen to 200 participants. Results of these tests show the viability of the sensors as a large group interaction tool. Participants found the interface intuitive to use, effectively controlling such aspects of the music as style, tempo, voicing, and filter parameters. These tests also demonstrate the system's ability to detect both the activity level and dominant tempo of the participants' motions, and give considerable insight into methods of mapping these data to musical parameters that give participants direct feedback as to their current state. Furthermore, it is shown that participants, if given this direct feedback, will synchronize their actions and increase in activity level, creating a mutually coherent and pleasing outcome.<br>by Mark Christopher Feldmeier.<br>S.M.
4
Hsieh, Su-Ching. "Cognition and musical improvisation in individual and group contexts." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/10019875/.
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The aims of this research are to investigate how improvisatory skills develop in individuals and teams. It focuses upon the effect of musical expertise in different musical genres on the development of improvisatory skills. Multi methods were applied in the research and classified into four phases. The first phase involved a self-case study implementing deliberate self regulated practice based on a planned sequential model; a) sight-reading; b) memorising; and c) improvising; over 8 weeks in a trained classical musician. Additionally, the self-case study used two commissioned musical compositions matched in length, harmony and structure, one in the classical genre the other in jazz. In the 2nd phase, semi-structured interviews were conducted with novice and expert improvisers. The final phases included experiments studying sightreading, memorising and improvising as a duo and observations and interviews relating to ensemble rehearsals and improvisation with cross genre compositions. The findings suggest that learning to improvise is frustrating and anxiety provoking. Seven elements were found to be important in acquiring musical skills and domain knowledge acquisition: physiological adaptation and developing reading music skills; establishing auditory schemata; automaticity; use of memorisation strategies; analytic strategy application; and improvising to a coherent musical structure. The findings also show that sight-reading and improvising share similarities in their characteristics when learning to improvise as a duo. Issues such as communicating to the audience, performance identity and connecting to the context are essential in the duo improvisation performance. The findings indicate that a 'concept of break-points' (Poole, 1983) take place during the latter stage of the ensemble improvisation process where changes occur across all three elements, musical structure, social structure and communicative behavior. (Bastien and Hostager, 2002:21) Factors such as leadership, group member characteristic, resource, information flow, the creative environment and collateral structure can influence the quality of group improvisation performance.
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Suner, Sedef. "Preschool Children As A User Group: Design Considerations For Musical Toys." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614074/index.pdf.
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Early musical experiences are very important for social, cognitive and physical
development of children, as well as their future musical competences. Preschools
present this environment with various musical materials. However, suitability of
these materials in terms of developmental needs of children and educational goals
is questionable. The purpose of this study is to transfer knowledge from relevant
literature to design considerations of musical toys for preschool children.
Literature review was conducted to determine various aspects to be considered
while designing musical toys by compiling knowledge from developmental
psychology and pedagogy literature<br>governments
6
Weinberg, Gil 1967. "Interconnected musical networks : bringing expression and thoughtfulness to collaborative group playing." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/28287.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2003.<br>Includes bibliographical references (p. 211-219).<br>(cont.) In order to addressee the latter challenge I have decided to employ the digital network--a promising candidate for bringing a unique added value to the musical experience of collaborative group playing. I have chosen to address both challenges by embedding cognitive and educational concepts in newly designed interconnect instruments and applications, which led to the development of a number of such Interconnected Musical Networks (IMNs)--live performance systems that allow players to influence, share, and shape each other's music in real-time. In my thesis I discuss the concepts, motivations, and aesthetics of IMNs and review a number of historical and current technological landmarks that led the way to the development of the field. I then suggest a comprehensive theoretical framework for artistic interdependency, based on which I developed a set of instruments and activities in an effort to turn IMNs into an expressive and intuitive art form that provides meaningful learning experiences, engaging collaborative interactions, and worthy music.<br>Music today is more ubiquitous, accessible, and democratized than ever. Thanks to technologies such as high-end home studios, audio compression, and digital distribution, music now surrounds us in everyday life, almost every piece of music is a few minutes of download away, and almost any western musician, novice or expert, can compose, perform and distribute their music directly to their listeners from their home studios. But at the same time these technologies lead to some concerning social effects on the culture of consuming and creating music. Although music is available for more people, in more locations, and for longer periods of time, most listeners experience it in an incidental, unengaged, or utilitarian manner. On the creation side, home studios promote private and isolated practice of music making where hardly any musical instruments or even musicians are needed, and where the value of live group interaction is marginal. My thesis work attempts to use technology to address these same concerning effects that it had created by developing tools and applications that would address two main challenges: 1. Facilitating engaged and thoughtful as well as intuitive and expressive musical experiences for novices and children 2. Enhancing the inherent social attributes of music making by connecting to and intensifying the roots of music as a collaborative socialritual. My approach for addressing the first challenge is to study and model music cognition and education theories and to design algorithms that would bridge between the thoughtful and the expressive, allowing novices and children an access to meaningful and engaging musical experiences.<br>by Gil Weinberg.<br>Ph.D.
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Martins, Áudrea da Costa. "Linhas, vozes e tracks : a textura na composição musical de crianças." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2011. http://hdl.handle.net/10183/36016.
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Esta pesquisa aborda a composição musical coletiva, acústica e eletrônica, de estudantes de música com idades entre 10 e 12 anos. Tem como objetivo analisar as diversas manifestações envolvendo a textura musical, destacando o modo como se vinculam à noção de tempo e aos processos de inferência que subsidiam a atividade da criação musical. Os sujeitos são 16 alunos regulares de duas escolas públicas, que frequentaram oficinas de composição ministradas pela pesquisadora. A concepção do estudo situa a pesquisa na área da Epistemologia Genética de Jean Piaget, cujo corpo teórico dá sustentação à investigação na área da Educação Musical. Os dados foram coletados no período de novembro de 2010 a abril de 2011, mediante a inserção da pesquisadora no ambiente de trabalho, onde observou e realizou entrevistas com base no referencial teórico adotado. A tomada de decisões durante o processo composicional encontra apoio nas inferências e nas noções de sucessão, duração e simultaneidade, inerentes à noção de tempo. Apesar das diferenças no que diz respeito à abordagem composicional e nos resultados sonoros dos produtos musicais, as manifestações texturais presentes nas peças acústicas e eletrônicas apresentam similaridades em muitos aspectos. A textura musical, importante dimensão estrutural da música, é parâmetro fundamental no exercício da composição musical, oferecendo ampla margem para experimentação e expressão criativa de seus autores. Sendo assim, este trabalho poderá suscitar novas abordagens frente à prática composicional em grupo na sala aula, contribuindo para uma melhor compreensão da produção musical dos estudantes.<br>The present research is an approach to acoustic and electronic collective musical composition by music students aged between 10 and 12. It aims to analyze the several demonstrations which involve musical texture, pointing out the way those are attached to the conception of time and the processes of inference which grant musical creation activity. The subject-matter is composed by 16 regular students from public schools who attended workshop on composition guided by the researcher. The conception of such study places the research in the area of Jean Piaget´s Genetic Epistemology whose theoretical body gives support to investigation in Musical Education area. The data have been collected during the period of November 2010 to April 2011 in the researcher´s work environment in which she performed interviews based on the adopted theoretical reference. The decision-making during the compositional process meets support in the inferences and in the concepts of sequence, length and simultaneousness which are inherent in time concept. In spite of the differences as to the compositional approach and the sound results of the musical products, the textural manifestation in the acoustic and electronic pieces proved to be similar in many aspects. The musical texture, important structural dimension in music, is a fundamental parameter in the exercise of composition. It offers a wide rank for the experimenting and creating expression of its authors. So, this work can bring new approaches in the compositional practice in group in the classroom which will provide a better comprehension in the student’s musical production.
8
Martin, Christopher Alan. "‘We Feed Off Each Other’: Embodiment, Phenomenology and Listener Receptivity of Nirvana’s In Utero." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1143406900.
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Wallace, Matthew R. "Holding back the flood Thom Yorke, Radiohead, and post-industrial capitalism /." [Denver, Colo.] : Regis University, 2006. http://165.236.235.140/lib/MWallace2007.pdf.
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Senior Honors Thesis--Regis University, Denver, Colo., 2007.<br>"May 2006." Date of submission on Certificate of Authorship: 30 April 2007. Title from PDF title page (viewed June 26, 2007). Includes bibliographical references.
10
Beegle, Amy C. "Children at work in their musical expression : a classroom-based study of small group improvisation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11204.
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Cannas, Sonia. "Geometric representation and algebraic formalization of musical structures." Thesis, Strasbourg, 2018. http://www.theses.fr/2018STRAD047/document.
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Cette thèse présente des généralisations u groupe néo-riemannien PLR, que agit sur l'ensemble des 24 triades majeures et mineures. Le travail commence par une reconstruction de l'histoire de Tonnetz, un graphe associé aux trois transformations qui génèrent le groupe PLR. La thèse présente deux généralisations du groupe PLR pour les accords de septième. Le premier agit sur le tournage des septièmes de dominantes, mineure, semi-diminuée, majeure et diminuée, le second comprend également la septième mineure majeur, majeure augmenté, l'augmentée et la septième dedominante bémol. Nous avons également classé les transformations les plus parcimonieuses parmi les 4 triades (majeure, mineure, augmentée et diminuée) et avons étudié le groupe généré par celles-ci. Enfin, nous avons introduit une approche générale permettant de définir des opérations parcimonieuses entre les accords de septième et de triade, mais aussi les opérations déjà connues entre triades et celles entre septièmes<br>This thesis presents a generalizations of the neo-Riemannian PLR-group, that acts on the set of 24 major and minor triads. The work begins with a reconstruction on the history of the Tonnetz, a graph associated with the three transformations that generate the PLR-group. The thesis presents two generalizations of the PLR-group for seventh chords. The first one acts on the set of dominant, minor, semi-diminished, major and diminished sevenths, the second one also includes minor major, augmented major, augmented, dominant seventh flat five. We considered the most parsimonious operations exchanging two types of sevenths, moving a single note by a semitone or a whole tone. We also classified the most parsimonious transformations among the 4 types of triads (major, minor,augmented and diminished) and studied the group generated by them. Finally, we have introduced a general approach to define parsimonious operations between sevenths and triads, but also the operations already known between triads and those between sevenths
12
Matheny, Alicia. "The body of light poems /." Huntington, WV : [Marshall University Libraries], 2007. http://www.marshall.edu/etd/descript.asp?ref=819.
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Brown, Jennifer R. "Monsters, of whom I am chief a metaphoric and generic criticism of Jars of Clay's concept video, Good Monsters /." Lynchburg, Va. : Liberty University, 2008. http://digitalcommons.liberty.edu.
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Sakadakis, Stella. ""Where do the boys go?" : tracking the development of careers in the music industry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55453.
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Musical careers develop along particular trajectories as a consequence of the relationships that are established between the musician and the industry. This thesis studies the nature of these relationships and the manner in which they contribute to the development of a musical career. The dichotomy between the artistic concerns of the musician and the economic interests of the industry that informs many popular music studies is re-oriented in light of the economic interests that are inherent in the musician's pursuit of a musical livelihood. The importance of commercial success in the maintenance of a musical living is explored in the case study of Men Without Hats, a Montreal based pop band that has maintained a fifteen year career despite a lack of commercial success over the past decade. This study suggests that the maintenance of a musical career over an extended period of time is a consequence of the types of relationships that are cultivated by the musician over the course of his/her career.
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du, Plessis Janine. "Transformation Groups and Duality in the Analysis of Musical Structure." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/math_theses/66.
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One goal of music theory is to describe the resources of a pitch system. Traditionally, the study of pitch intervals was done using frequency ratios of the powers of small integers. Modern mathematical music theory offers an independent way of understanding the pitch system by considering intervals as transformations. This thesis takes advantage of the historical emergence of algebraic structures in musicology and, in the spirit of transformational theory, treats operations that form mathematical groups. Aspects of Neo-Riemannian theory are explored and developed, in particular the T/I and PLR groups as dual. Pitch class spaces, such as 12, can also be defined as torsors. In addition to surveying the group theoretical tools for music analysis, this thesis provides detailed proofs of many claims that are proposed but seldom supported.
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LeBlanc, Sylvie. ""Le monde qu'on connaǐt" : the music of 1755 and the construction of Acadian identity." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=98548.
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This thesis explores the role of popular music in articulating socio-cultural identities by examining the contribution of the Acadian group, 1755. As the rapid modernization of Acadians' way of life led to a sense of cultural alienation, cultural products played a prominent role in asserting their cultural specificity. Accordingly, the 1970s were not only rich in artistic production, but also saw the development of a distinctive Acadian popular music practice. Responding to fears of acculturation and folklorization, Acadian popular music embodied Acadians' desire to embrace a modern identity all the while maintaining ties with their traditional identity. 1755's music actively took part in reinventing Acadian identity by constructing a cultural narrative that reflected Acadians' contemporary reality and by renegotiating what was commonly held as "Acadian" music. As a result, it became invested with ideological significance by Acadian consumers, regarded not merely as commercial music but rather as a symbol of their cultural emancipation.
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Medeiros, Wenia Xavier de. "A Percussão na Performance Musical do Grupo Capoeira Angola Comunidade." Universidade Federal da Paraíba, 2012. http://tede.biblioteca.ufpb.br:8080/handle/tede/8671.
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Previous issue date: 2012-03-30<br>This research, in the scope of ethnomusicology, was carried out towards musical
performance, having as its object of study the Master Naldinho Capoeira Angola
community group, located in the Novais district, in João Pessoa, Paraíba. The general
objective of this research was to present, analyze and reflect about the fundamental
aspects which characterize the Capoeira Angola Community Group musical
performance giving emphasis to its musical practice and its bond to the various
elements of the cultural universe, especially towards the role and the general
characteristics when playing the percussion instruments in the performance context. The
research was carried out under ethnographic methodology – essentially centered on
qualitative research instruments of data collection– in order to accomplish the proposed
aims. To gather data, it was used bibliographic research, semi- structured interviews and
participative observation which enabled the researcher to make recordings on video and
audio, as well as photographic ones. To organize, analyze, and read the data it was
needed to elaborate theoretical framework, musical transcriptions, design interviews,
select photographies, and describe the fundamental aspects of this cultural
manifestation. As a result of these processes , it was presented contemporary
conceptions which gave ground to this dissertation leading to the contextualization of
capoeira in Brazil and its symbolic shifting from political crime to immaterial Brazilian
cultural heritage, having as its forerunner Master Bimba (from Capoeira Regional) and
Master Pastinha (from Capoeira Angola). The research contextualized the moment
when capoeira gave its first steps in Paraíba through the Soteropolitano Zumbi Bahia
until reaching Master Naldinho’s House of Capoeira Angola, created by Master Nô
from Bahia. When forming the group, Master Naldinho, not only shaped it, but gave
specific and hierarchic structures, creating and developing peculiar sequences with
musical complementation for each graduation. It is presented the constituent elements of
musical performance of the group then part of the musical content collected given
emphasis to the repertoire. It is also defined the particularities of the percussion
instruments used in the group within the historical, technical and functional aspects. To
conclude, it is analyzed the rhythmic structures and the toques from Capoeira de
Angola in both roda presentations and in shows with the Berimbaus Angola Community
Orchestra. Capoeira Angola musical practice is essentially collective, with importa nt entertaining, socializing and social inclusiveness functions – it also involves the
preservation and the maintenance of traditions. Capoeira Angola is imbued with values,
codes and believes that have group performative meaning with its inseparable eleme nts,
such as its sonorous result characterized by the inter-relation between them.<br>Esta pesquisa na área de Etnomusicologia, é direcionada ao campo da
performance musical, tendo como objeto de estudo o Grupo Capoeira Angola
Comunidade do Mestre Naldinho, localizado no Bairro dos Novais, em João Pessoa,
Paraíba, O objetivo geral da pesquisa foi apresentar, analisar e refletir acerca dos
aspectos fundamentais que caracterizam a performance musical do grupo Capoeira
Angola Comunidade enfatizando a prática musical do grupo e sua vinculação aos
diversos elementos do universo cultural, sobretudo no que se refere à função e às
características gerais da execução dos instrumentos de percussão ne sse contexto de
performance. A fim de alcançar os objetivos propostos para a pesquisa, foi utilizada
uma metodologia de cunho etnográfico, centrada fundamentalmente em instrumentos
qualitativos. Dessa forma, os instrumentos de coleta de dados utilizados fo ram a
pesquisa bibliográfica, entrevistas semi-estruturadas e a observação participante, onde
foi possível realizar gravações de áudio e vídeo e registros fotográficos. Para
organização, análise e leitura dos dados os procedimentos utilizados foram a elaboração
do referencial teórico, as transcrições musicais e de entrevistas, seleção de fotografias,
além da descrição dos aspectos fundamentais da manifestação. São apresentadas então,
as concepções contemporâneas que fundamentaram o trabalho, para em seguida
contextualizar a capoeira no Brasil e o momento de transformação simbólica, em que a
capoeira passou de crime político a patrimônio cultural imaterial brasileiro, tendo como
precursores Mestre Bimba (da capoeira regional) e Mestre Pastinha (da capoeira
angola). Posteriormente é contextualizado o momento em que a capoeira deu os
primeiros passos no Estado através do Soteropolitano Zumbi Bahia até chegar à Casa da
Capoeira Angola do Mestre Naldinho, formado pelo Mestre Nô da Bahia. O Mestre
Naldinho ao formar o Grupo Capoeira Angola Comunidade lhe dá não apenas forma,
mas estruturas e hierarquia específicas, criando e desenvolvendo sequências de
treinamento próprias com complementações musicais para cada graduação. São
apresentados então, os elementos constituintes da performance musical do grupo. Em
seguida, é apresentado parte do conteúdo musical coletado dando ênfase ao repertório.
São definidas ainda as particularidades dos instrumentos de percussão utilizados no
grupo nos aspectos históricos, técnicos e funcionais. Para finalizar são analisadas as
estruturas rítmicas do toques utilizados na capoeira angola, tanto nas apresentações nas
rodas quanto nos shows com a Orquestra de Berimbaus Angola Comunidade. A
capoeira angola é uma prática musical fundamentalmente coletiva, com funções
importantes de entretenimento, socialização, inclusão social além de preservação e
manutenção da tradição. É imbuída de valores, códigos, crenças e significados que
possuem sentido no conjunto performático e seus diversos elementos são indissociáveis,
assim como, o resultado sonoro é caracterizado a partir da interrelação entre eles.
18
Martin, Christopher. ""We feed off each other" embodiment, phenomenology and listener receptivity of Nirvana's In utero /." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143406900.
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Gardner, Thomas. "The effect of electronically mediated sound on group musical interaction : a case study of the practice and development of the Automatic Writing Circle." Thesis, City University London, 2011. http://openaccess.city.ac.uk/1075/.
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The interaction between musicians has been one of the traditional strengths of music: it stretches to include an audience and ritual participants but has its origins in group activity, the interpersonal responses of one musician to another. This thesis examines the way that electronic media have transformed the interactions between musicians, particularly in the context of live performance. A central theme is the way in which mediatisation creates new splits within previously integrated musical situations and also merges differences usually defined by physical boundaries. The theories of Gregory Bateson on schizophrenia and Irving Goffman on Situationism are brought together to create a new understanding of the term "schizophonia". This rehabilitated concept is proposed as the key to a creative exploration of new situations and discontinuities which make up group performance in a mediatised environment. In practical terms the exploration of new musical situations is documented in the following projects: the material created for the group "Automatic Writing Circle" during its evolution over a period of six years (compositions, software, instruments), development of the Ouija Board and accompanying software, composition of the piece Lipsync and the earlier piece I slept by numbers for flute and live electronics.
20
Corrêa, Juliane Riboli. "CONSTRUINDO CONHECIMENTOS MUSICAIS E PEDAGÓGICO-MUSICAIS EM GRUPO: EXPERIÊNCIAS FORMATIVAS NA EDUCAÇÃO ESPECIAL." Universidade Federal de Santa Maria, 2013. http://repositorio.ufsm.br/handle/1/7074.
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The current dissertation is linked to the Educação e Artes Research Line (LP04), from Programa de Pós-Graduação em Educação, from Universidade Federal de Santa Maria (PPGE/UFSM) and to the Study Group Formação, Ação e Pesquisa em Educação Musical (FAPEM). As general purpose, the research sought to investigate in which manner a teacher training group of students from Special Education (EE), mediated by musical and pedagogical-musical experiences, potentiates learning relations between music and EE. As specific purposes, it sought to understand how the formation group, mediated by experiences involving Musical Education and EE, can be a learning device and to comprehend the group function in the development of teaching practice learning. This investigation had as methodological framework, the participant research articulated to formation research and it was carried out through a Group of Musical and Pedagogic-musical Formation (GFMP), composed by me and ten EE students from UFSM. As methodological instruments to produce data, it was employed participants‟ oral narratives (carried out during the meetings) and written ones (obtained through field diary). The research brought as theoretical framework, authors such as Josso (2010), Brandão (1992), Oliveira (2009, 2011), Ferry (2004), Imbernón (2010) Larrosa (2002), Dewey (1976), Bellochio (2000), Vygotsky (1982), among others. The data produced in the research were analyzed and organized into categories that permeate the entire dissertative writing. As results from this investigation, it is pointed out the potential of the group in the sense of mediating musical and pedagogic-musical formative experiences in Special Education and the music as a knowledge that potentiates development. The research was a possibility to walk towards self, with the others, in the construction of new knowledge and formative experiences in relation to Music and EE.<br>A presente dissertação está vinculada à Linha de Pesquisa Educação e Artes (LP4) do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria (PPGE/UFSM) e ao grupo de estudos Formação, Ação e Pesquisa em Educação Musical (FAPEM). Como objetivo geral, a pesquisa buscou investigar de que forma um grupo de alunas da Educação Especial (EE) em formação, mediado por experiências musicais e pedagógico-musicais, potencializa relações de aprendizado entre música e EE. Como objetivos específicos, procurou-se entender como o grupo de formação, mediado por experiências envolvendo Educação Musical e EE, constitui-se em um dispositivo de aprendizagem e compreender a função do grupo no desenvolvimento da aprendizagem docente. A investigação teve, como aporte metodológico, a pesquisa participante articulada à pesquisa-formação e foi desenvolvida através de um Grupo de Formação Musical e Pedagógico-musical (GFMP) constituído por mim e dez alunas de EE da UFSM. Como instrumentos metodológicos para a produção dos dados, foram utilizadas narrativas orais (realizadas durante os encontros) e escritas (realizadas através do diário de campo) das participantes. A pesquisa trouxe por referencial teórico autores como Josso (2010), Brandão (1992), Oliveira (2009, 2011), Ferry (2004), Imbernón (2010), Larrosa (2002), Dewey (1976), Bellochio (2000), Vygotsky (1982), dentre outros. Os dados produzidos na pesquisa foram analisados e organizados em categorias que transversalizam toda a escrita dissertativa. Como resultado desta investigação destaca-se a potência do grupo mediando experiências formativas musicais e pedagógico-musicais na Educação Especial e a música como um conhecimento que potencializa desenvolvimento. A pesquisa foi uma possibilidade de um caminhar para si, com os outros, na construção de novos conhecimentos e experiências formativas em relação à música e EE.
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Goosman, Stuart L. "The social and cultural organization of black group vocal harmony in Washington, D.C. and Baltimore, Maryland, 1945-1960 /." Thesis, Connect to this title online; UW restricted, 1992. http://hdl.handle.net/1773/11232.
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Alarcón-Jiménez, Ana-María. "Shima-uta of windows, mirrors, and the adventures of a traveling song /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p1464900.
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Thesis (M.A.)--University of California, San Diego, 2009.<br>Title from 1st page of PDF file (viewed July 23, 2009). Available via ProQuest Digital Dissertations. Includes bibliographical references: P. 60-64.
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Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /." [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
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Franks, Douglas Keith. "An Investigation of a Group of Third Graders' Pitch Matching Skills When Using Male Voice, Piano, and Resonator Bells as Melodic Models." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500493/.
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The purpose was to measure any statistically significant differences in pitch-matching skills among three classes of third grade students when using either adult male voice, piano, or resonator bells as melodic models for rote instruction of classroom singing. Each class was randomly assigned one of the three melodic models for a ten week treatment phase. Results indicated no significant differences in pitch matching skills between any of the three groups. No significant differences in pitch matching skills were found according to gender of subjects or among class piano students and non-piano students. Findings indicated overall improvement in pitch matching skills of subjects from pre-test to post-test phase.
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Begnaud, Edward M. C. "Musical Aesthetics: An Objective Approach to "Music Appreciation" for American Public Education." Thesis, University of North Texas, 1988. https://digital.library.unt.edu/ark:/67531/metadc500415/.
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The specific problem prompting this investigation is the creation of a method of music criticism. The purposes for the investigation are three in number. First and foremost, the purpose of the investigation is to develop an unrestricted method of music criticism. The development of such a method fulfills the second reason for the investigation. Although Mortimer Adler and the Paideia Group have clearly stated the classes and pedagogy to be utilized in a Paideia curriculum, they have done little to suggest specific class content. This study resolves the content problem for one class. It is recommended that the music masterworks class be treated as a course in music criticism. Through such treatment of the class, students will meet the goals of the Paideia Group and develop the tools for societal reconstruction. Finally, the goal of establishing a method of music criticism harmonious with the educational philosophy of reconstructionism is the end to the previous two "means" purposes.
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Lechusza, Alan. "Without reservations : native hip hop and identity in the music of W.O.R. /." Diss., [La Jolla, Calif.] : University of California, San Diego, 2009. http://wwwlib.umi.com/cr/ucsd/fullcit?p3371707.
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Thesis (Ph. D.)--University of California, San Diego, 2009.<br>Title from 1st page of PDF file (viewed Sep. 16, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references and discography: P. 249-276.
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Berman, Aaron. "Memento Mori." Pitzer College, 2007. http://ccdl.libraries.claremont.edu/u?/stc,13.
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Animated color film with images of water, birds, winged humans, a man in a hooded sweatshirt, doors, the sea, a woman on a stool wearing a red scarf, marching soldiers, a gun, a knife, blood on hands, a dancing couple, a crowd of dancers, a seed, plants growing, clouds, a flying winged person, a figure playing an instrument. The images transform into each other in ever-changing sequences.
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Barry, Jennifer. "Stories and gaps : a study of narrative, discourse and musical awareness in a group of year six children's responses to music." Thesis, University of Canterbury. School of Educational Studies and Human Development, 2006. http://hdl.handle.net/10092/3597.
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Music educators in the classroom aim to expose students to a variety of styles and genre of
music through active listening. Engaging children in listening to music that is unfamiliar to
them is problematic. This study sets out to explore what Year Six children respond to in the
music they prefer and how this compares to their responses to examples of 'classical' music in
an effort to find areas of commonality and transferability.
A constructivist perspective underpins this study. In examining the children's responses to
music in their own words, their understandings about music and how it shapes their lives
becomes evident.
Case study is used to examine the listening responses of Year Six children. Children express in
their own terms what they listen to and for within music: music of their own choice, and then
"classical" music. They share their expectations and give examples of "good" music.
The findings that emerge from this study fall into two broad themes: those relating to
children's choices, and those that relate to the nature and importance of the discourses about
listening to music within the educational setting. These findings have a number of implications.
Firstly, they indicate the importance of "stories" the children gained from the music listened to.
Secondly, they suggest the significance of the relationship children form with music. Thirdly,
they mark the importance of an awareness of the different perspectives and cultural settings
from which music listening and appreciation is viewed.
This study focuses on Year Six children's responses to and relationships with music. However,
while it examines a single aspect of music education at this level, the implications may be
explored within other levels and curriculum areas.
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Oliveira, Pedro Augusto Dutra de. "Por uma educação musical humanizadora: O ensino coletivo de música a várias mãos." Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/2725.
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Previous issue date: 2014-02-21<br>This research took place in a Social Project, named Guri, in Batatais, a city of the state of São Paulo . The Guri Project is a socio-cultural music education program, mostly maintained by the State Government. The specific objectives of the research were to identify and describe musical practices that occur in different spaces of the building where the Project is installed. After identifying such practices, the educational processes was described, based in the students relationships, focusing their involvement with music. The methodological framework was based in the understanding on how that everyone learns in harmony, considering the social and the musical view. Three groups of musical practices have been identified, with the inclusion of the researcher in one of them within approximately three months, in order to participate and identify educational processes that occur among the students during the music practice. The first practice observed was among the percussion set, in the orchestra rehearsals during the Project . The second practice observed was the meetings of two little girls made, every week, in one of the empty rooms of the building, in an extra class time. The third and final insertion occurred in group activities developed in a string class. After identifying the educational processes, analysis and discussion the data, such processes were separated into the following categories: DIALOGUE AND MUSICAL SPEECH; COLABORATION AND LEARNING TOGETHER; COLABORATION, AUTONOMY, MUSIC PRACTICE AND THEIR RESULTS. The study aims to contribute in the field of music education, specifically to produce knowledge about music education from the perspective of humanizing education. For instance, we intended to understand how the students develop relationship between them and the music, how was being educated in community, considering the social and musical autonomy of the students.<br>A presente pesquisa foi realizada em um dos polos do Projeto Guri, mais especificamente no polo da cidade de Batatais, interior do estado de São Paulo. O Projeto Guri é um programa sociocultural de educação musical, mantido majoritariamente pelo Governo do Estado. Os objetivos específicos da pesquisa foram identificar e descrever práticas musicais coletivas que ocorressem nos espaços de convivência do prédio onde o Projeto está instalado. Após a identificação de tais práticas procurou-se descrever quais eram os processos educativos que decorriam das relações entre os alunos e alunas em seu envolvimento com a música. O objetivo geral era analisar os processos educativos identificados para procurar entender como alunos e alunas se educam coletivamente, partindo de suas próprias relações. Pretendeu-se realizar essa pesquisa por não encontrar pesquisas que ao tratarem do ensino coletivo de música, tivessem como objetivo adentrar práticas musicais coletivas já existentes para a partir delas entender, por meio daqueles que delas fazem parte, como os sujeitos se educam em coletividade. Foram identificadas três práticas musicais coletivas, havendo a inserção do pesquisador em cada uma delas num período aproximado de três meses, com a finalidade de conviver, participar e identificar processos educativos que ocorressem nas relações estabelecidas. Após a identificação dos processos educativos, e para análise e discussão dos dados, tais processos foram separados nas seguintes categorias: DIÁLOGO MUSICAL E DISCURSO MUSICAL, APRENDIZAGEM COLETIVA E COLABORAÇÃO, MUSICIDADE, AUTONOMIA, EXPÊRIENCIA MUSICAL e PRODUÇÃO CULTURAL. O estudo pretende contribuir no campo da educação musical, especificamente ao tratar o ensino coletivo de música sob uma perspectiva da educação humanizadora, ou seja, pretende-se entender como alunos e alunas em seu envolvimento entre si e com a música, se educam em coletividade, partindo das mais variadas relações estabelecidas entre eles, sujeitos autônomos que ensinam e aprendem.
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Lawson, Selena. "Radiohead the guitar weilding [sic], dancing, singing commodity /." Atlanta, Ga. : Georgia State University, 2009. http://digitalarchive.gsu.edu/communication_theses/47/.
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Thesis (M.A.)--Georgia State University, 2009.<br>Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).
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Dymock, Laura. "No compromise with their society : the politics of anarchy in anarcho-punk, 1977-1985." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=101878.
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In order to analyze the relationship of punk to anarchy, this thesis will investigate the discursive function of "anarchy" both in contemporaneous accounts of punk and in subsequent histories. Beginning with the genesis of British punk and the first references to anarchy in different media during the late 1970s, subsequent chapters focus on the seminally influential anarcho-punk band Crass in order to discern their impact on the evolution of the anarcho-punk genre and its relationship to anarchism up through the mid-1980s. Several other anarcho-punk bands will also be considered for their contributions to this genre. In addition to providing an in-depth study of anarcho-punk, which has been largely ignored by scholars, the present work seeks to enhance understanding of the role of anarchy in punk discourse and hopes to offer a starting point for analysing recent developments in other politicised subcultures.
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Carter, Bethany. "The Impact of Beginner Group Harp Learning on Self Efficacy and Musical/Harp Self Concept: Changes to Perceptions, Approaches and Behaviours in Non-Harp Settings." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29369.
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Ways in which young people’s positive self-development and maturation can be enhanced is of great interest to educators, parents and society alike. This study adopted a phenomenological approach to investigate the relationship between beginner group harp learning and self-efficacy and musical/harp self-concept, and the transferability of this relationship to academic contexts; using a combination of pedal, lever, non-lever and lap harps. Five female participants, all of whom attended a public secondary school in regional NSW, engaged in 20 beginner harp group learning sessions, 10 of which were filmed, and completed four questionnaires dispersed throughout the study. The role of the researcher, who also led the sessions, was considered through the process of ethnography. Findings revealed, from mostly qualitative data, that beginner group harp learning enhanced enjoyment, connectedness, and accessibility, and was perceived as a more relaxed form of learning. Self-efficacy was discovered to develop through the theme of confidence, and impacted participants’ perceptions of themselves as harpists. Ultimately, increasing levels of self-efficacy and a developed musical/harp self-concept was suggested to impact either participants’ achievements, perceptions of self-efficacy in academic settings, and/or their wellbeing.
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Gross-Mejía, Jennifer Anne. "The working hour: A rhetorical analysis of the lyrics of Tears for Fears." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2477.
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Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.
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Goodenough, Pammala K. "A comparison of computer-assisted and peer-partner practice in treble-staff note recognition /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131575082.pdf.
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Limeberry, John. "A rhetorical analysis of Pink Floyd's The wall." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/722159.
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Through an examination of the album The Wall by the group Pink Floyd, the intention of this study was to answer questions such as tale following in hopes that a clearer understanding of The Walls popularity might be obtained. What are the major and minor events in this musical narrative? Who are the main characters in -111ne narrative? What cause-and-effect relationships are established in the narrative? now did The Wall function rhetorically in achieving a sense of identification with contemporary listeners?The study found that The Wall achieved identification through the use of its themes which centered around war, derisive school systems, parental overprotection. collapse, and extreme alienation.The study notes that The Wall contained substantial social commentary, and states that the rock music form, often belittled as nothing more than hedonistic escapism, is capable of producing work worthy of scholarly examination.<br>Department of Speech Communication
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Oliveira, Rodrigo Batista de. "Encenação de Leitmotiv: o procedimento dramático-musical para a constituição de uma cena teatral e não dramática." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/27/27156/tde-19092016-165414/.
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Considerando o Leitmotiv um dos procedimentos dramáticos mais importantes para a composição musical, contido nas obras artísticas e teóricas do encenador alemão Richard Wagner, o presente trabalho investiga a possibilidade de seu emprego prático em obras teatrais contemporâneas e não dramáticas. Realiza-se, em um primeiro momento, um estudo sobre as definições e arqueologias do termo localizadas no gênero dramático operístico. Acompanha tal estudo, a abordagem das acepções do gênero dramático na linguagem operística e teatral, adotando como norte teórico pensadores como Immanuel Kant, Joseph Kerman e Peter Szondi. A fim de atualizar os possíveis sentidos do termo na produção teatral contemporânea, associamos ao Leitmotiv os conceitos de: Esquizofonia, difundido pelo compositor Raymond Murray Schafer; Environment, desenvolvido pelo criador Renato Cohen; e, por fim, o conceito de Ritornelo, dos pensadores Gilles Deleuze e Félix Guattari. Ainda, associamos os conceitos contemporâneos a três espetáculos teatrais de produção recente: a adaptação ucraniana da obra Woyzeck de Georg Büchner, feita pelo encenador Andriy Zholdak; a instalação operística Trem Fantasma, concebida pelo alemão Christoph Schlingensief a partir da ópera Navio Fantasma, de Richard Wagner; e a obra em episódios do grupo norte-americano Nature Theater of Oklahoma, encenada por Pavol Liska e Kelly Copper, intitulada Life and Times. A fim de investigar o procedimento no âmbito da criação artística, realizamos um estudo sobre os processos de criação dos espetáculos Manter em local seco e arejado e Mantenha fora do alcance de crianças, ambos do grupo paulistano [pH2]: estado de teatro, encenados pelo pesquisador, que possuem como metodologia principal a ideia central da dissertação: a encenação de Leitmotive.<br>The Leitmotiv, as presented on the artistic and theoretical works of the German director Richard Wagner, is possibly one of the most important dramatic procedures of musical composing. Considering so, the present thesis analyses the range of its usage in contemporary and non-dramatic theatrical pieces. At first, we conduct a study regarding the term\'s definitions and archaeologies within the dramatic opera. Alongside, we investigate the conceptions of the dramatic genre in the operatic and theatrical languages, taking as basis the literature of Immanuel Kant, Joseph Kerman, and Peter Szondi. In order to update the term\'s possible meanings within the theatrical contemporary production, we associate to Leitmotiv the following concepts: Schizophonia, published by the composer Raymond Murray Schafer; Environment, conceived by Renato Cohen; and, lastly, Ritornello, as described by the philosophers Gilles Deleuze and Félix Guattari. Furthermore, we investigate the contemporary concepts in three recently presented shows: the adaptation of Georg Büchner\'s Woyzeck, by the Ukrainian director Andriy Zholdak; the operistic installation Trem Fantasma [Ghost Train], created by the German artist Christoph Schlingensief, based on Wagner\'s opera The Flying Dutchman; and Life and Times, a production from the North-American performance group Nature Theater of Oklahoma, under the direction of Pavol Liska and Kelly Copper, presented in several episodes. To plunge into the operating of such procedure in the midst of artistic creation, we examine the creative processes of two plays in which the researcher took part, both from the Brazilian group [pH2]: estado de teatro, called Manter em local seco e arejado and Mantenha fora do alcance de crianças, developed by a method focused on the main idea of this thesis: staging the Leitmotive.
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Bender, Felicia. "Girls will be boys and boys will be girls : gender subversion in the work of Split Britches Company and the Ridiculous Theatrical Company, 1967-1996 /." free to MU campus, to others for purchase, 1997. http://wwwlib.umi.com/cr/mo/fullcit?p9841265.
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Costa, Viviane de Mendonça Fiaia. "Potencialidade interpretativa do piano digital Clavinova CVP 401: um estudo de caso." Universidade Federal de Goiás, 2013. http://repositorio.bc.ufg.br/tede/handle/tede/4001.
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Previous issue date: 2013-04-27<br>The digital piano is an instrument that has been increasingly used in the musicalization
process, instrument practice, and performance. As every instrument has a peculiar technique,
the digital piano also offers possibilities in musical interpretation. In the context of teaching
piano in group, we investigated the possibilities that the digital clavinova piano CVP 401,
instrument used in the piano laboratory at UFG, offers to the musical interpretation.
Therefore, the aim of this research is to study the possibilities that the digital piano offers for
musical interpretation in this context. For this purpose, three musical pieces of three different
music styles were taught: classic, romantic, and Brazilian dance (samba), for piano students in
groups, presenting technical tools for distinction in articulation and phrasing for each style in
order to evaluate the end result sound. The results are discussed based on the concept of
interpretation and musical style of Thurston Dart (2000), Nikolaus Harnoncourt (1998 ),
Muniz Sodré (1998) and Carlos Sandroni (2008) technical knowledge of the mechanism of
the digital piano used, assessment of four renowned pianists, and the researcher’s experience
and knowledge in using the acustic piano and the digital piano. As a result of this work, the
digital clavinova CVP 401 offers a potential for different interpretation styles, but with
limitations regarding the level of repertoire and the reverberation of harmonics.<br>O piano digital é um instrumento que vem sendo cada vez mais utilizado no processo de
musicalização, prática do instrumento, e performance. Como todo instrumento possui uma
técnica peculiar, o piano digital também oferece possibilidades na interpretação musical.
Dentro do contexto do ensino de piano em grupo, investigamos as possibilidades que o piano
digital clavinova CVP 401, instrumento utilizado no laboratório de piano em grupo da UFG,
oferece para a interpretação musical. Para isso ensinamos três peças de três estilos musicais,
clássico, romântico e dança brasileira (samba), para alunos de piano em grupo, apresentando
ferramentas técnicas para distinção de articulação e fraseado referentes a cada estilo com o
intuito de avaliarmos os resultados sonoros. Discutimos tais resultados tendo como
fundamentação o conceito de interpretação e estilo musical conforme Thurston Dart (2000),
Nikolaus Harnoncourt (1998), Muniz Sodré (1998) e Carlos Sandroni (2008), o conhecimento
técnico sobre o mecanismo do piano digital utilizado, a avaliação de quatro pianistas
renomados e as experiências e conhecimentos da utilização do piano acústico e piano digital
desta pesquisadora. Como resultado desse trabalho, o piano digital clavinova CVP 401
oferece uma potencialidade para interpretação de estilos diferenciados, mas com limitações no
que concerne ao nível do repertório e a reverberação de harmônicos.
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Kitson, Michael E. "The Sex Pistols and the London mob." Thesis, View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.
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This thesis concerns the invention, improvisation, and right to ownership of the punk patent and questions the contention, put by the band’s manager, Malcolm McLaren, and other commentators, that the Sex Pistols and English punk were a Situationist prank. This challenge to what, in the majority of punk literature, has become an ‘accepted truth’ was first raised by McLaren’s nemesis, the band’s lead singer, John Lydon. McLaren and Lydon did agree that the London punk movement took its inspiration from the anarchic and chaotic energies of the eighteenth–century London mob. This common crowd could switch instantly and unpredictably from a passive state to an anarchic, violent and destructive mob, or ‘King Mob’: one that turned all authority on its head in concerted, but undirected, acts of misrule. Through his own improvisation with punk tropes, Lydon came to embody English punk and functioned, on the one hand, as a natural mob leader; and on the other, as a focus for the mob’s anger. I argue that, in following McLaren’s reduction of the Sex Pistols to a Situationistinspired prank, one of the earliest and most influential analyses of the punk phenomenon, Greil Marcus’s Lipstick Traces: A Secret History of the Twentieth Century, misunderstood how fundamental the culture and semiotics of the London mob was to McLaren, Lydon, the Sex Pistols and the performance of London punk. I take seriously, then, the idea that the cultural signifiers the Sex Pistols drew upon to make their punk performances, and which accounted in no small way for their ability to ‘outrage’, were exclusively British and unique to London’s cultural topography and the culture of the London crowd. After the implosion of the Sex Pistols on their 1978 American tour, with Lydon quitting in disgust, McLaren attempted to take ownership of the punk legacy: both actually, through attempting to assert his copyright over the Sex Pistols’ brand; and symbolically through re-writing the Sex Pistols’ story in his 1980 movie The Great Rock ‘n’ Roll Swindle. Curiously, and most notably, the mob is foregrounded in the film through its opening sequence, which draws heavily from the events of the Gordon Riots in 1780. This thesis contests the paradigm put in place by McLaren’s version of events as portrayed in The Great Rock ‘n’ Roll Swindle and reconsiders punk as a cultural object trouve. In particular, I consider literary influences on its protagonists: Graham Greene on John Lydon and Charles Dickens and J. M. Barrie on Malcolm McLaren.
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Leme, Luis Santiago Malaga. "Práticas informais no ensino coletivo de sopros: um experimento no Guri." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07032013-093552/.
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Este trabalho apresenta algumas contribuições para uma atualização metodológica e pedagógica do ensino de instrumentos de sopro em aulas coletivas inspirado pelas práticas informais de aprendizagem identificadas por Green (2008), Braga (2005) e Priest (1989) entre outros. As práticas informais são um conjunto de atividades identificadas pela literatura como típicas da música popular ou tradicional que possuem interesse para a educação musical formal. Suas características principais podem ser resumidas como: concessão de espaço e tempo para os alunos improvisarem e experimentarem; livre escolha do repertório e; maior uso de modelos visuais e sonoros dados pelo professor e por gravações trazidas à sala de aula. As práticas informais estão de acordo com a pedagogia de Paulo Freire na medida em que colocam a autonomia como meio de aprendizagem e não apenas como finalidade. A formalização das práticas musicais na direção da escrita e leitura de partituras é um processo antigo correlacionado ao desenvolvimento do racionalismo na história do pensamento ocidental em sua busca pela precisão, segundo Koellreutter (Brito, 2007). O caminho que as práticas musicais tomaram teve seu ápice no século XIX, sendo que o sistema de ensino dos conservatórios constituído nesta época perdura até os dias de hoje na educação musical, em especial no ensino formal e tradicional. É só a partir da segunda metade do século XX que os trabalhos de educação musical procuraram reequilibrar o processo de transmissão da música em busca da oralidade e da subjetividade que quase se perdeu. Este trabalho procura ser mais uma contribuição nesta direção. A pesquisa procurou implementar as práticas informais seguindo em linhas gerais o modelo sugerido por Green (2008) mas também incorporando as contribuições de outros autores como Braga (2005) e Priest (1989) no curso de iniciação aos instrumentos de sopro do Guri. O foco principal foi a análise do comportamento dos alunos perante as atividades, geralmente pouco estruturadas, bem como de seu desenvolvimento musical ao longo das aulas, utilizando o método de pesquisa baseado no estudo de caso instrumental. Apesar de vários percalços ao longo do trabalho, os resultados obtidos foram bastante favoráveis a adoção destas práticas e corroboram com as ideias de Green (2008). Tanto no que diz respeito a tocar a melodia escolhida pelos próprios alunos, como nas improvisações, vários deles demonstraram bastante desembaraço e independência. Também se observou que, por serem uma forma mais direta e musical de se aprender, as práticas informais permitiram aos alunos lidar com materiais musicais muito mais ricos e complexos do que em um curso tradicional. Por outro lado estas práticas pareceram mais adequadas para os alunos mais velhos, uma vez que estes tendem naturalmente a ter mais voz no grupo e a exercer mais plenamente a sua autonomia, inibindo os mais jovens que talvez tivessem sido beneficiados por mais apoio docente.<br>This work presents some contributions for a methodological and pedagogical update to the teaching of woodwind instruments in group lessons based on informal learning practices identified by Green (2008), Braga (2005) and Priest (1989) among others. Informal learning practices are a set of activities identified in the literature as typical of popular or traditional music which are of interest for formal music education. Their main characteristics can be summarized as: granting time and room for the student\'s experimentations and improvisations; freedom to choose their musical repertoire; enhanced use of visual and sound role models exposed by the teacher and by musical recordings brought to the classroom. Informal practices are in harmony with Paulo Freire\'s pedagogy since they place autonomy as a mean of learning and not only as a goal. Following Koellreutter (BRITO, 2007), the formalization of musical practices towards the writing and reading of musical scores is a very old process related to the development of rationalism in the history of the western thought in its aim for precision. The path taken by musical practices had their pinnacle at the 19th century, when the conservatory learning system developed, which persists until today mainly in formal traditional education. It is only on the second half of the 20th century that the studies in musical education seek to balance the music transmission process towards an almost gone oral tradition and subjectivity. The present work tries to make a contribution in this direction. The research attempts to implement the informal practices according to the general guidelines of the model proposed by Green (2008), incorporating also the contributions of other authors like Braga (2005) and Priest (1989), in the beginner class of woodwind instruments at Guri program. The main focus of the analysis was on the responses of the students along the generally non-structured activities as well as their musical development throughout the course, using the research method based on instrumental case study. Despite several setbacks during the research, the results were highly favorable to the adoption of those practices and corroborate with Green\'s (2008) ideas. In terms of student\'s success in playing the tunes chosen by them, as well as in improvising several of them showed self-sufficiency and were at ease with the instrument. As the Informal Learning Practices are a more musical and nonmediated way of learning, the students were able to deal with a richer and more complex musical content. On the other hand those practices seemed more suitable to older students since they tend to have a more active role in the group and to exercise more fully their autonomy, inhibiting the youngest, that would probably have benefited from more teacher\'s support.
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Eberle, Soraya Heinrich. "Cantar, contar, tocar... A experiência de um Grupo de Louvor como possibilidade para a formação teológico-musical de jovens." Faculdades EST, 2012. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=376.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>Uma proposta de formação teológico-musical das juventudes, a partir do contexto de
um grupo de louvor. Averigua de que forma se dá esta formação e como pode ser
trabalhada com intencionalidade. No primeiro capítulo, são contextualizadas as três
grandezas constituintes da pesquisa: as juventudes, a música sacra contemporânea
e a educação cristã em contexto evangélico-luterano. No segundo capítulo, aborda
os diferentes paradigmas que sustentaram a música sacra em contexto evangélicoluterano,
as correntes da música sacra atual e, a partir do contexto contemporâneo,
o fenômeno gospel. O terceiro capítulo trabalha com as narrativas de vida de seis
jovens, que participam de um grupo de louvor e adoração. A partir dessas narrativas,
emergem quatro categorias para a análise: formação de vínculos, protagonismo e
tutela, compreensão de papéis e funções e a aprendizagem no e a partir do grupo. O
quarto capítulo esboça um diálogo entre a prática no grupo de louvor, o Plano de
Educação Cristã Contínua da Igreja Evangélica de Confissão Luterana no Brasil e a
teoria sócio-interacionista proposta por Vygotsky. O quinto capítulo faz uma proposta
de formação teológico-musical que pode servir de subsídio para o trabalho com
jovens em contexto comunitário, a partir de reflexões e de práticas<br>A proposal for theological-musical training for youth groups based on the context of a
praise group. It verifies in what way this training takes place and how it can be
worked with intentionality. In the first chapter, the three constituting groupings of the
research paper are contextualized: the youth groups, contemporary sacred music
and Christian education in an Evangelical-Lutheran context. In the second chapter,
the different paradigms which sustained sacred music in the Evangelical Lutheran
context, the currents of modern sacred music and, based on the contemporary
context, the Gospel phenomenon are dealt with. The third chapter works with the life
narratives of six youth who participate in a praise and adoration group. Based on
these narratives, four categories arise for analysis: formation of ties, protagonism and
tutelage, comprehension of roles and functions and the learning in and based on the
group. The fourth chapter outlines a dialogue between the practice in the praise
group, the Plan for Continuing Christian Education of the Evangelical Church of
Lutheran Confession in Brazil and the social-interactionist theory proposed by
Vygotsky. The fifth chapter presents a proposal for theological-musical training which
can serve as a resource for the work with youth groups in the congregational context,
based on reflections and practices.
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Flach, Gisele Andrea. "Arranjos para piano em grupo : um estudo sobre as decisões, escolhas e alternativas pedagógico-musicais." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/87671.
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Esta pesquisa busca refletir sobre o processo de elaboração de arranjos musicais feitos para o ensino de piano. O trabalho procura esclarecer e compreender as escolhas, decisões e alternativas empregadas diante de possíveis problemas da didática musical e didática do instrumento. Os arranjos analisados foram elaborados para prática de piano em conjunto, consistindo em peças criadas para serem tocadas por quatro ou cinco alunos no mesmo piano, uma atividade que foi desenvolvida pela pesquisadora nas duas instituições onde trabalhava durante o mestrado: Associação Pró-Cultura e Arte de Ivoti-Ascarte/Instituto de Educação Ivoti-IEI e na Fundação Municipal de Artes de Montenegro – FUNDARTE, localizadas no Rio Grande do Sul. Como metodologia, foi construído um tipo de memorial, que colaborasse para a reflexão sobre o processo de elaboração dos arranjos, a partir de autores como: Bosi (1994); Teixeira, Zamberlan e Rasia (2009); Morisse (2012); e Anastasiou (2002). Foram analisados sete arranjos didáticos elaborados em épocas diferentes, são eles: A História de uma Gata, do musical Os Saltimbancos, de Luis Enríquez Bacalov e Chico Buarque (elaborado em 2011); Three little birds, de Bob Marley (elaborado em 2011); Viva la vida (elaborado em 2009) e Speed of Sound (elaborado em 2010), ambas do grupo Coldplay. As outras três peças foram elaboradas durante a escrita desta dissertação, no decorrer do ano de 2012, sendo elas: Rock and roll old times, de compositores variados, pois se trata de um medley; Paradise e Violet Hill, ambas do grupo Coldplay. Como aporte teórico da pesquisa foram abordados os conceitos de arranjo; transcrição, adaptação, redução (Pereira, 2011; Duarte, 2010; Lima Júnior, 2003; Aragão, 2001a e 2001b) e música original (Carvalho, 2008; Aragão, 2001a e 2001b). As reflexões feitas nesta pesquisa esclarecem uma prática de música em conjunto voltada para a didática do piano, evidenciando uma abordagem músico-pedagógica onde o aprendizado dos alunos é o alicerce da criação de cada arranjo. Acredito que este trabalho possa vir a contribuir para que outros professores e alunos possam buscar alternativas e ideias para criarem seu próprio material, de acordo com suas necessidades e/ou, ao buscarem material alternativo, possam analisar e refletir sobre a forma como um outro arranjo se apresenta e trabalha questões de didática musical.<br>The research seeks to reflect upon the process of arranging musical pieces made for teaching piano. It seeks to explain and recognize the choices, decisions and options put before potential didactical musical problems and didactics of musical instruments. Pieces were analyzed and created to be played in class piano, consisting of pieces made to be played by four or five students on the same piano, an activity that was developed by the researcher in two institutions where she worked during her Masters: Ascarte (Associação Pró-Culture e Arte Ivoti)/Instituto de Educação Ivoti (IEI) and the Fundarte (Fundação Municipal de Artes de Montenegro), both located in Rio Grande do Sul State. As methodology, a memorial was developed, to work and explain the process of making arrangements, from authors such as: Bosi (1994); Teixeira, Zamberlan and Rasia (2009); Morisse (2012); and Anastasiou (2002). Seven pieces were analysed, four were prepared at different times, including: A História de uma Gata, the musical Os Saltimbancos, Luis Enríquez Bacalov and Chico Buarque (arranged in 2011), Three Little Birds by Bob Marley (arranged in 2011), Viva la Vida (arranged in 2009) and Speed of Sound (arranged in 2010), both by the group Coldplay. The other three pieces were arranged during the writing of this dissertation, throughout the year of 2012: Rock and roll old times, from various composers as it is a medley and Paradise and Violet Hill, both by the group Coldplay. As theoretical research, the concepts of arrangement, transcription, adaptation, reduction (Pereira, 2011; Duarte, 2010; Lima Jr, 2003; Aragão, 2001a and 2001b) and original music were addressed (Carvalho, 2008; Aragão, 2001a and 2001b). The reflections made from this research describe an exercise focused on piano technique, showing a pedagogical music approach where student learning is the foundation of the creation of each piece. The intent is that this project may potentially contribute to other teachers and students who seek alternatives and ideas to create their own material, according to their needs and/or to seek alternative materials, and, that they may analyze and ponder on how other pieces show and work musical didactics.
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Souza, Bruno de Almeida. "Caracterização físico-química e qualidade microbiológica de amostras de mel de abelhas sem ferrão (Apidae, Meliponinae) do Estado da Bahia, com ênfase em Melipona Illiger, 1806." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/11/11146/tde-15042009-095259/.
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Aproveito este espaço para contar um pouco da minha trajetória com as abelhas, mas também para falar sobre as atividades desenvolvidas e possibilidades surgidas no decorrer do curso de Doutorado, informações estas que normalmente passam despercebidas. Nascido em Salvador, tive meu primeiro contato com as abelhas com pouco mais de 12 anos por iniciativa de meu pai, que nesta época já era um entusiasta pela atividade e possuía conhecimentos práticos. Alguns anos após, fizemos nosso primeiro curso de iniciação em apicultura para consolidar as nossas experiências práticas e as informações obtidas em literatura. Terminei por cursar a graduação em Engenharia Agronômica na Escola de Agronomia da UFBA, atualmente Centro de Ciências Agrárias, Ambientais e Biológicas da Universidade Federal do Recôncavo da Bahia. Foi um período de crescimento em que me envolvi com atividades de iniciação científica, em outras áreas que não apicultura. Já no mestrado, me foi dada a oportunidade de trabalhar com um grupo de abelhas até então novo para mim, os meliponíneos, e de ter como orientador o Prof. Dr. Carlos Alfredo Carvalho, pessoa que me direcionou para o futuro curso de doutorado na USP, dando continuidade à linha de pesquisa iniciada no mestrado. Em 2004 iniciei o meu doutoramento na ESALQ/USP sob orientação do Prof. Dr. Luis Carlos Marchini. Fazendo um balanço desta última etapa, além do desenvolvimento das atividades regulares do programa tive a oportunidade de me envolver com a formulação de projetos de pesquisa para agências de fomento, de participar de eventos nacionais e internacionais, de publicar artigos científicos e de consolidar parcerias de trabalho no Brasil e no exterior. Em síntese, este período de doutorado que se encerra (2004 - 2008) pode ser representado em números por: quatro cursos realizados como formação complementar, quatro premiações em eventos científicos, nove trabalhos publicados em periódicos (alguns submetidos antes de ingressar no doutorado), quatro livros, três capítulos de livros, três cartilhas, dois textos em revista de divulgação, quatro trabalhos completos publicados em anais de congressos, 40 resumos, 17 trabalhos apresentados e participação em 12 eventos técnico-científicos; além do envolvimento em atividades de monitoria junto a disciplinas de graduação, treinamento este fundamental para uma futura atividade de docência. Acredito que todas estas amizades feitas, parcerias consolidadas, atividades desenvolvidas e produções decorrentes do doutorado contribuirão de forma substancial e decisiva para esta nova etapa que se inicia em minha vida.<br>The stingless bees honey is a product presenting a growing market demand but, in spite of its consumption as food and even medicinal use, there are few studies to define quality standards for its commercialization. This work was carried out to determine the physico-chemical characteristics and microbiological quality of honey samples produced by meliponid species from Bahia State, Brazil, contributing to the establishment of quality control standards of this product. Forty-seven samples collected from December 2004 to May 2006 were analyzed, being determined their physico-chemical characteristics and microbiological quality, regarding to the standard counting of moulds and yeasts, and presence of microorganisms of the coliform group. Concerning the physico-chemical characteristics, the obtained medium values, excepting moisture content, fulfill the quality criteria established by the current Brazilian Legislation. Considering the number of samples individually disqualified, adjustments in reducing sugars limits should be made for best attend to the requirements of meliponid honey, as well as the use of the diastasic activity in the Melipona honeys as quality criterion. In the microbiologic analyses, 53.2% of the honey samples presented standard counting for moulds and yeasts above the maximum value allowed by the Brazilian Legislation. For microorganisms of the coliform group only one sample was positive for coliform at 35ºC. The presence of these microorganisms, mainly moulds and yeasts, even in samples aseptically harvested indicates the need of identification of this microbiota and its possible natural occurrence in the honey produced by this group of bees.
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Kitson, Michael E. "The Sex Pistols and the London mob." View thesis, 2008. http://handle.uws.edu.au:8081/1959.7/38784.
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Thesis (Ph.D.) -- University of Western Sydney, 2008.<br>A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Includes bibliography.
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Smit, Sonja. "Challenging desire : performing whiteness in post-apartheid South Africa." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1016358.
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The central argument of this thesis asserts that in the process of challenging dominant subject positions, such as whiteness, performance creates the possibilities for new or alternative arrangements of desire. It examines how the creative process of desire is forestalled (reified) by habitual representations of whiteness as a privileged position, and proposes that performance can be a valid form of resistance to static conceptions of race and subjectivity. The discussion takes into account how the privilege of whiteness finds representation through forms of neo-liberalism and neo-colonialism in the post apartheid context. The analysis focuses on the work of white South African artists whose work offers a critique from within the privileged “centre” of whiteness. The research is situated within the inter-disciplinary field of performance studies entailing a reading and application of critical texts to the analysis. Alongside this qualitative methodology surfaces a subjective dialogue with the information presented on whiteness. Part Two includes an analysis of Steven Cohen’s The Cradle of Humankind (2011), Brett Bailey’s Exhibit A (2011) and Michael MacGarry’s LHR-JNB (2010). Each section examines the way in which the respective works engage in a questioning of whiteness through performance. Part Three investigates South African rap-rave duo, Die Antwoord and how their appropriation of Zef interrogates desires for an essential authenticity. Part Four focuses on my own performance practice and the proposed value of engaging with a form of practice-led research. This is particularly relevant in relation to critical race studies that require a level of self-reflexivity from the researcher. It presents an analysis of the work entitled Villain (2012) as a disturbance of theatrical desire through a process of ‘becoming’. This notion of meaning and identity as ‘becoming’ is argued as a strategy to challenge prevailing modes of perception which can possibly restore the production of desire to the viewer. The thesis concludes with the notion that performance can offer a mode of immanent ethics which is significant in creating both vulnerable and critical forms of whiteness.
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Tove, Landahl. "Det är roligare att spela med andra! : En kvantitativ enkätstudie om klaverlärares arbete med elevers musikaliska samspel." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-73448.
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Flera av de pianostuderande jag mött, inklusive mig själv, spelade aldrig kammarmusik innan gymnasiet eller musikhögskolan. Det har fått mig fundera över i vilken omfattning klaverstu-derande elever vid kultur- respektive musikskolor deltar i musikaliska samspel. Studien har som syfte att kartlägga i vilken utsträckning lärare i klaverinstrument på kultur- respektive musikskolor i Stockholms län arbetar med musikaliskt samspel med sina elever och vilka faktorer som påverkar vilka elever som samspelar med andra elever. Datainsamling gjordes med hjälp av e-postade enkäter till klaverlärare på kultur- respektive musikskolor. Sedan analyserades svaren univariat, bivariat, tematiskt och samband prövades på sin statistiska signifikans. Resultatet visar dels på att de flesta hade tillfällen då deras elever spelade med någon under deras lektioner, dels att det skilde sig mellan hur lärare arbetade med samspel beroende på om de undervisade individuellt eller som gruppundervisning. Det framgick också att det fanns fyra olika områden som respondenterna menade påverkade vilka elever som fick spela med andra. Dessa var logistiska faktorer, intressen och kompisar hos såväl elev som lärare, elevernas kunskap och ambitioner samt speciella behov hos eleven. I diskussionen problematiseras konsekvenser av individuell undervisning och gruppundervisning samt vad elever lär sig av musikaliskt samspel.<br>Many piano students I´ve meet, including myself, never played chamber music until they went to gymnasium or university. This made me wonder how many opportunities piano students studying at culture and music schools had to play with others. The purpose of the study is to find out to what extent pianoteachers in these schools in the Stockholm Province work with interaction in music with their students and which factors affects which students interact with others. Data was collected by e-mailing questionnaires to which pianoteachers at the music and cultur schools had to answer. The answers were analyzed univariate, bivariate, tematic and correlations were tested on their statistical significance. The result showes that most teachers occasionally let their students play with someone, during their lessons. The results also showes that it differed between how teachers worked with interaction depending on whether they taught individually or in groups. It also is found that four different types of factors affected the respondents choices of which students who would get the opportunity to play with others. These were logistical factors, interests and friends of both pupil and teacher, the students' knowledge and ambitions, and special needs of the student. In the discussion the consequences of individuell lessons and group lessons are problematized. What the student learn from musical interaction is also discussed.
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Ferro, Ãtalo RÃmulo de Holanda. "A inclusÃo do ensino de mÃsica nos currÃculos escolares do CRAJUBAR: contribuiÃÃes do estÃgio supervisionado do curso de licenciatura em mÃsica da UFC - campus Cariri." Universidade Federal do CearÃ, 2013. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=10341.
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Este trabalho dissertativo teve o seu desenvolvimento no Programa de PÃs-GraduaÃÃo em EducaÃÃo Brasileira da FACED â Faculdade de EducaÃÃo da Universidade Federal do Cearà na linha de pesquisa EducaÃÃo, CurrÃculo e Ensino e no eixo temÃtico Ensino de MÃsica. A presente pesquisa realizou uma anÃlise de como as experiÃncias vivenciadas pela seleÃÃo de alunos do Curso de Licenciatura em MÃsica da UFC â Cariri que realizam o EstÃgio Curricular Supervisionado, contribuem no processo de inclusÃo do ensino de mÃsica nos currÃculos escolares do CRAJUBAR. Todo o processo de investigaÃÃo foi focado nas aÃÃes teÃricas e prÃticas dos estudantes do curso de mÃsica envolvidos diretamente com o EstÃgio Curricular Supervisionado nas escolas. Como procedimento metodolÃgico, utilizei a tÃcnica de pesquisa social qualitativa de Grupo Focal que à uma forma de metodologia integrativa onde se permite o debate democrÃtico das experiÃncias adquiridas pelos alunos durante a realizaÃÃo do estÃgio em educaÃÃo musical. A partir dos resultados desta pesquisa elaborei algumas consideraÃÃes com o intuito de contribuir à articulaÃÃo harmoniosa entre a formaÃÃo de professores competentes por parte da universidade e o processo de inclusÃo do ensino de mÃsica nas escolas da regiÃo.<br>This dissertation work had its development in the Post-Graduate Education Brazilian FACED - Faculty of Education of the Federal University of Cearà in the search line Education, Curriculum and Teaching and thematic Music Education. This research conducted an analysis of how the experiences of students by selecting the Bachelor of Music from UFC - Cariri who perform the Supervised contribute in the process of inclusion of music education in school curricula of Crajubar. The whole process of research was focused on the theoretical and practical actions of students of music directly involved Supervised schools. As methodological procedure, used the technique of qualitative social research Focus Group as a form of integrative methodologic that allows democratic debate of the experiences gained by students in supervised training in music education. From the results of this research have elaborated some recommendations with the aim of contributing to the harmonious relationship between the formation of competent teachers by the university and the process of inclusion of music education in the schools of the region.
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Eberle, Soraya Heinrich. "Ensaio pra quê? : reflexões iniciais sobre a partilha de saberes : o grupo de louvor e adoração como agente e espaço formador teológico-musical." Faculdades EST, 2008. http://tede.est.edu.br/tede/tde_busca/arquivo.php?codArquivo=105.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O Grupo de Louvor e Adoração como dispositivo e espaço educacional teológicomusical
em comunidades da Igreja Evangélica de Confissão Luterana no Brasil
(IECLB). A pesquisa inicia traçando um perfil histórico da introdução do modelo dos
Grupos de Louvor e Adoração na IECLB. Para tanto, é delineado o contexto geral
(musical, teológico, político e social) no Brasil entre os anos 1960-1980. É analisado
o legado do reformador Martinho Lutero referente à música, e a formação da IECLB
(Igreja Evangélica de Confissão Luterana no Brasil), e um relato histórico do
surgimento do Movimento Encontrão, berço destes grupos em contexto luterano. Em
seguida, apresenta a análise do encontro-ensaio do Grupo de Louvor e Adoração à
luz dos escritos de Martinho Lutero, Paulo Freire e Lev S. Vygotsky, tendo em vista
aquelas dinâmicas que englobam formação teológico-musical para os integrantes do
grupo, e que possam vir a se refletir na vida comunitária ou sejam reflexos da
mesma. Por fim, se propõe considerações para a dinâmica de um Grupo de Louvor e
Adoração que possam se refletir na compreensão, no uso e na definição de papéis
(por parte do grupo e da comunidade de adoração) da música no culto e na vida
comunitária. Para tanto, descreve os principais tópicos da compreensão teológica
presentes num Grupo de Louvor e Adoração e apresenta subsídios e considerações
para uma intencionalidade teológica e formativa, referente ao uso e ao papel da
música no contexto comunitário evangélico-luterano.<br>The Grupo de Louvor e Adoração (Praise and Adoration Group) as a musicaltheological
educational space and instrument in congregations of the Igreja
Evangélica de Confissão Luterana no Brasil (IECLB) (Evangelical Church of Lutheran
Confession in Brazil). The research begins by outlining an historical profile of the
introduction of the model of Praise and Adoration Groups within the IECLB. To do
this, the general context (musical, theological, political and social) in Brazil between
the years of 1960 and 1980 is delineated. The legacy of the reformer Martin Luther,
as relates to music and to the formation of the IECLB is analyzed and an historical
description is given of the emergence of the Encontrão Movement, which is the
birthing place of these groups within the Lutheran context. Following this, an analysis
is presented of the gathering-practice session of the Praise and Adoration Group in
the light of Martin Luther's, Paulo Freire's and Lev S. Vygotsky's writings, looking at
those dynamics which encompass theological-musical education for the members of
the group and which could be reflected within the congregational life or be reflexes of
this life. Finally, considerations are proposed for the dynamic of a Praise and
Adoration Group which could reflect into the comprehension, use and role definition
(on the part of the group and of the worshiping congregation) of music in the worship
service and in congregational life. For this, the main topics of the theological
comprehension present within a Praise and Adoration Group are described and
resources and considerations are presented for an educational and theological
intentionality with regard to the use and role of music within an Evangelical-Lutheran
congregational context.
49
Parris, Cheryl A. E. "Bishop George Barrett's role in the FIGHT-Kodak conflict an examination of Episcopal authority and social justice /." Online full text .pdf document, available to Fuller patrons only, 2000. http://www.tren.com.
Texto completo da fonte
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Scott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.
Texto completo da fonteResumo:
This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Music