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1
McDonald, Jennifer Ann. "Music and me : measuring and understanding real-life music preferences". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608208.
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Cusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /". Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.
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Thesis (Ph. D.)--Indiana University, 2004.Computer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.
3
Eakes, Kevin Wayne Walls Kimberly C. "A comparison of a sociocultural and a chronological approach to music appreciation in face-to-face and online instructional formats". Auburn, Ala, 2009. http://hdl.handle.net/10415/1681.
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Bolanis, Susan Loehrke. "Children's responses to live musical performance by an ensemble without, then with pedagogical training". [S.l. : s.n.], 1996. http://catalog.hathitrust.org/api/volumes/oclc/53916456.html.
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Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction". Thesis, The University of Sydney, 1999. http://hdl.handle.net/2123/361.
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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.
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Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction". University of Sydney. Music Education, 1999. http://hdl.handle.net/2123/361.
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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.
7
李德芬 e Daphne Lee. "The transmission of Qin music: the analysis of four versions of the composition Pingsha luoyan". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B43894896.
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Custer, Robert S. "Effect of passive classroom listening on students' preferences toward classical/concert music /". Licensed for access by UF students, faculty, and staff (and others in a UF library), 2003. http://wwwlib.umi.com/cr/ufl/fullcit?p3117317.
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Lucas, James Edward. "Score and analysis of the International Suite for Two Pianos and Orchestra /". The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487268021747395.
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McNeely, Heather Eaves. "Questioning boundaries in traditional music appreciation pedagogy: a study of the effect of an attentive listening-based approach on the music appreciation achievement of college, non-music majors". Thesis, Boston University, 2013. https://hdl.handle.net/2144/11141.
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Thesis (D.M.A.)--Boston UniversityMusic appreciation courses have become core components of humanities and education curricula, yet scholars have differed on the definitions, approaches, and goals of such courses. Researchers have investigated the efficacy of various pedagogical approaches to teaching music appreciation; some have attempted to measure appreciation and clarify its definition and goals; others have argued that a traditional approach perpetuates a hidden curriculum of social stratification. The purpose of this study is to determine the effectiveness of an attentive listening-based approach on the music appreciation achievement of college, non-music majors compared to a traditional approach. In this study, indicators of music appreciation included factual knowledge, listening skills, and attitudes. Attitudes were assessed via a Music Attitude Questionnaire, and factual knowledge and listening skills were assessed via a final achievement test. Participants included intact groups of students in two separate classes of a college music appreciation class (N = 110). The researcher taught and tested one class according to a traditional approach, using the textbook Music: An Appreciation (Kamien, 2008) and taught and tested the other class according to an attentive, listening-based approach, utilizing the text Take Note: An Introduction to Music Through Listening (Wallace, in press). Gordon's Advanced Measures of Music Audiation (1989) was administered to all participants at the beginning of the semester. A researcher-designed Music Attitude Questionnaire was administered to all participants as a pretest/posttest and an identical, researcher-designed final achievement test was administered to all participants at the end of the semester. Analysis of variance on participants' final achievement test scores indicated that there was no significant difference between the classes in the areas of factual knowledge and listening skills. Data from the Music Attitude Questionnaire were first subjected to principal components analysis (PCA) followed by independent samples t-tests on participants' posttest responses to questionnaire items identified as reflecting underlying components in PCA. Results of the t-tests indicated no significant difference between the two classes. The sociological implications of music appreciation courses are discussed and suggestions for future research are provided.
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Williamson, Susan J. "My music : the music making and listening experiences of seventh and eighth graders not enrolled in school music ensembles /". Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11218.
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Cox, Elizabeth J. "Reducing noise : multimedia and the appreciation of contemporary music". Thesis, University of Sheffield, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435271.
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Bonneville-Roussy, Arielle. "There is accounting for taste : determinants of musical taste in adulthood". Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708330.
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McCabe, Melissa Christine Parisi Joseph. "Learning together online an investigation of the effect of collaborative instruction on students' demonstrated levels of cognition and self-reported course satisfaction in an online music appreciation course /". Diss., UMK access, 2007.
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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2007."A dissertation in music education and education." Advisor: Joseph Parisi. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 2, 2008. Includes bibliographical references (leaves 132-176). Online version of the print edition.
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Stiller, Barbara. "Erlebnisraum Konzert : Prozesse der Musikvermittlung in Konzerten für Kinder /". Regensburg : ConBrio, 2008. http://d-nb.info/986203424/04.
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Williamson-Urbis, Sue Zanne. "The effect of two methods of music instruction on the degree of liking and musical knowledge on non-music majors enrolled in music appreciation classes". Diss., The University of Arizona, 1995. http://hdl.handle.net/10150/187447.
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The primary purpose of this study was to compare the effects of icon-based listening outlines and language-based listening outlines on the degree of liking scores and musical knowledge scores of nonmusic majors enrolled in music appreciation courses. A secondary purpose was to examine interactions between the methods of instruction and the students' age, gender, teacher, and primary language with the dependent variables of degree of liking and musical knowledge scores. One-hundred and ninety-seven university undergraduates enrolled in six intact music appreciation classes served as subjects for the twelve week study. Three instructors, each teaching two intact music appreciation classes, taught both methods. The study used a pretest/posttest two group experimental design to answer fourteen research questions. The results indicated that degree of liking scores and musical knowledge scores significantly improved between the pretests and posttests regardless of method of instruction. Results also revealed a significant interaction between method and time of test for both degree of liking and musical knowledge. Students using icon-based listening outlines showed a greater increase in degree of liking scores and musical knowledge scores from pretest to posttest than the students using language-based listening outlines; however all increases were slight. Results also revealed significant interactions among teacher, primary language, and musical knowledge scores and among teacher, method of instruction, and musical knowledge scores.
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Johnson, Stephen. "Hecate nocturne : for large orchestra". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99173.
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With Hecate Nocturne, I set out to create a unified piece of substantial length. The piece features certain sounds of British Columbia---birds, animals, wind, water, machinery, and folksong; their musical depictions represent a growing interest of mine, one which was expanded significantly in this piece.The primary goal of the thesis is a close interconnection of all musical material, at all levels; that a limited pool of material could produce, through motivic development, all the components of the piece, from small to large. The secondary goal is to give the music a "sense of place" through depictions of natural sounds occurring---in this case---in British Columbia. The tertiary goal is to write musical returns, or recapitulations, that are always significantly altered from their original presentations, to give the piece a feeling of consequence or alteration. This last goal arises from the aesthetic application of some of the composer's philosophical beliefs.
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Chen, Kuo-Hua. "Effects of different performers and newly made violins on musicians' and non-musicians' perceptions of recorded violin performances /". view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055677.
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Thesis (D.M.A.)--University of Oregon, 2002.Reproduction fo typescript. Includes vita and abstract. Includes bibliographical references (leaves 114-120). Also available for download via the World Wide Web; free to University of Oregon users.
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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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Mahoney, J. Jeffrey. "The Elements of Jazz Harmony and Analysis". Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc500764/.
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This study develops a method for analyzing jazz piano music, primarily focusing on the era 1935-1950. The method is based on axiomatic concepts of jazz harmony, such as the circle of fifths and root position harmonies. 7-10 motion between root and chordal seventh seems to be the driving force in jazz motion. The concept of tritone substitution leads to the idea of a harmonic level, i.e., a harmony's distance from the tonic. With this method in hand, various works of music are analyzed, illustrating that all harmonic motion can be labelled into one of three categories. The ultimate goal of this analytic method is to illustrate the fundamental harmonic line which serves as the harmonic framework from which the jazz composer builds.
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Adamcyk, David. "Balbuzard : for solo clarinet, wind symphony and electronics". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=111504.
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Balbuzard is a musical composition of approximately twelve minutes in length, scored for solo clarinet, wind symphony and electronics. It focuses on cluster-like sound masses and explores ways of using these to give the music a clear sense of direction. To this end, tools were developed using a variety of computer applications or programming languages, such as Lisp, OpenMusic and Cubase. These tools made possible a kind of graphic composition where diagrams of different shapes were entered into a computer interface and converted into source material. The generated source material consisted of several rhythmic strata whose pitches, mainly part of diatonic, octatonic or chromatic collections, followed the contour of the entered shape. With this visual process, it was also possible to explore the creation of contrapuntal textures by entering diagrams of lines representing the path of each contrapuntal voice.**This dissertation is a compound document (contains both a paper copy and a CD as part of the dissertation). The CD requires the following system requirements: Windows MediaPlayer or RealPlayer.
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Wolf, Motje. "The appreciation of electroacoustic music : an empirical study with inexperienced listeners". Thesis, De Montfort University, 2013. http://hdl.handle.net/2086/8680.
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The research contained within this PhD project forms part of the Pedagogical ElectroAcoustic Resource Site project of the Music, Technology and Innovation Research Centre of De Montfort University Leicester. This thesis contributes to current research in music education and musicology related to electroacoustic music. The purpose of this research was to investigate the influence of teaching on the change in inexperienced listeners’ appreciation of electroacoustic music. A curriculum was developed to introduce electroacoustic music to 11 to 14 year old students (Key Stage 3). The curriculum was based on concepts distinguishing between electroacoustic music using (mainly) real-world sounds and generated sounds. The curriculum is presented in an online learning environment with an accompanying teacher’s handbook. The learning environment represents the prototype for the pedagogical ElectroAcoustic Resource Site offering online learning, blended learning and classroom-based learning. The website was developed following user-centred design; the curriculum was tested in a large-scale study including four Key Stage 3 classes within three schools in Leicester. In five lessons music using real-world sounds (soundscape and musique concrète) was introduced, which included the delivery of a listening training, independent research and creative tasks (composition or devising a role-play). The teaching design followed the methods of active, collaborative and self-regulated learning. Data was collected by using questionnaires, direct responses to listening experiences before and after the teaching, and summaries of the teaching written by the participants. Following a Qualitative Content Analysis, the results of the study show that the participants’ appreciation of electroacoustic music changed during the course of these lessons. Learning success could be established as well as a declining alienation towards electroacoustic music. The principal conclusion is that the appreciation of electroacoustic music can be enhanced through the acquiring of conceptual knowledge, especially through the enhancing of listening skills following the structured listening training as well as the broadening of vocabulary to describe the listening experience.
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Lessoil-Daelman, Marcelle. "Une approche synoptique des motifs et des modules dans la messe parodique /". Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82914.
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This dissertation develops a synoptic approach to the systematic identification and comparison of the distribution of material from the model in the Kyrie and in the Credo of six parody masses of Palestrina, Lassus and de Monte, published between 1570 and 1600. These masses are grouped in pairs and each pair is based on a different model. Knowing that the compositional approaches to parody vary from one composer to one another, the objectives of this research are as follows: (1) comparison of the parodic approach of two composers in masses based on the same model; (2) comparison of pairs of masses, considering that Palestrina and Lassus treat two of the three models; (3) comparison of the three masses of Lassus written on three different models.The synoptic approach to analysis is very interesting, because after the simultaneous identification of the motives in the model and in the mass movements (Kyrie and Credo), the entire complex of selected motives and their use in the construction of the modules become very easily detectable. The results of this research show that: (1) the model does not dictate the treatment, because the same model is treated differently by two composers; for instance, two masses of Palestrina based on different models are more alike, than those of Palestrina and Lassus based on the same model; (2) the model seems to be more attractive to the composer when it is one of his own compositions; for example, Palestrina borrows more material from his madrigal Io son ferito to build his Missa Petra Sancta, than Lassus does it in his Missa super Io son ferito ahi lasso based on the same model; (3) the style of the model does not determine the style of the mass; motifs from a non-imitative model can be treated in imitation in the mass, and (4) the sections of the Kyrie are more suited to formal development (generated by the repetitions of modules), than those of the Credo.
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Fromm, Mark Stanley. "Acheron, river of woe : for wind symphony". Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99559.
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Acheron, River of Woe is a large-scale piece for wind symphony accompanied by an analytical thesis. It is a single-movement programmatic piece lasting twelve minutes scored for a wind symphony consisting of three flutes (one doubling piccolo), two oboes, English horn, two bassoons, contrabassoon, E-flat clarinet, three B-flat clarinets, A clarinet, bass clarinet, contrabass clarinet, four saxophones, four trumpets, four horns, two trombones, bass trombone, euphonium, tuba, string bass, timpani, and three percussionists. This piece represents a journey on the River Acheron, inspired by quotations taken from several Greek poets of antiquity. The entire piece flows as one long, fluid stream of music, with different sonic currents, waves, and eddies moving through it. Modal theory governs its harmonic structure and is the foundation of the piece.
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Chang, Yuli 1982. "Poetic afterthought : seven pieces for orchestra". Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112610.
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Poetic Afterthought is an original music composition for orchestra (2-2-2-2 / 4-2-2-1 / timp-perc / piano-harp / strings). The work comprises a cycle of seven orchestral pieces inspired by seven Chinese Classical poems. The seven orchestral pieces attempt to capture the moods and impressions of the poems while carrying hints of the original structures of the poetry as if the music speaks poetry itself.
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Groven, Marielle 1984. "The ghost in the machine /". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116133.
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The Ghost in the Machine is a piece of music far large wind ensemble. This piece is concerned with the interrelationship between the perception of time passing in music and the level of perceived density of musical activity. Specifically, the piece is designed according to the notion that the higher the level of musical activity within smaller intervals of time, the higher the perceived level of density. The piece consists of a large-scale density envelope that spans the length of the entire piece, wherein the level of density increases gradually towards and decreases away from the climax point. The shape of this density envelope is reflected on smaller scales that operate at various levels of the music, all of which are discussed in detail in the analysis part of the thesis. These density envelopes are used as a means of structuring the listening process over the course of the piece.
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García, de la Torre Mauricio 1976. "Cachalote". Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116134.
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Cachalote is a work for 17 musicians inspired by the study of social behavioral patterns in sperm whales. The distinctive series of clicks produced by these mammals, known as "codas," are their primary means of communication. These patterns manifest in Cachalote as a series of "sound objects", whose specific arrangement symbolizes communication, and underlines the musical discourse. The sound of field recordings provided further inspiration for the music's texture and orchestration. The composer's creation of an extra-musical narrative related to the lifecycle of sperm whales determines the appearance and ordering of the work's main gestures, and articulates the overall structure.
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Britton, Eliot. "Codecs". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116135.
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This thesis contains two volumes. The first is a written text that describes my compositional techniques in the context of an analysis of Codecs. The second volume is the score of this work. Volume one is divided into six sections: Introduction, harmony, rhythm and time, melodic materials, form, live electronics and future directions. Each section describes techniques and processes I developed throughout the compositional process.Codecs was inspired by the subversive proliferation musical materials though the use of audio codecs. I developed compositional tools based on encryption and compression in order to explore the audio codec metaphor.
Volume two is the full score of Codecs, a work for large ensemble and live electronics. It is comprised of three sections and has a duration of approximately 14 minutes. The work is scored for flute (doubling on piccolo), oboe, clarinet in Bb (doubling on bass clarinet), bassoon, horn in F, trumpet, trombone, tuba, string quintet and percussion. Electronic drum pads and captured live sounds are used to control the live electronic elements.
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Liu, Lai Ying. "Description as a transmedial mode of representation and its potential in instrumental music explored through a study of musical work inspired by paintings". HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/77.
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Among various forms of art, music (and instrumental music in particular) is said to be the least descriptive art form, owing to its limitation with respect to hetero- referentiality--the ability to refer to things outside itself. However, in view of the impreciseness current in the definition of musical description itself, as well as a lack of case studies in understanding the modes of representation of descriptive music, there remain some questions about the fundamental nature and the potential of music as a medium of description. These questions will be raised and explored in this dissertation. It is particularly interesting that, while description is distinguished from narration in literary studies, in the past musicologists have often treated the two categories as one; thus, I posit that this ambiguity might blur our understanding of some aspects of the medial nature of music. By looking at semiotic features of music, I study how these features operate in delivering descriptive content through the analysis of programmatic music of various types. Their roles in developing the descriptive potential of music are also explored here. Building on theoretical studies by Werner Wolf, and the concepts of semiologists such as Ferdinand de Saussure and Charles Sanders Peirce, I discuss three musical cases: Franz Liszt’s piano work, Sposalizio (inspired by Raphael’s Lo Sposalizio della Vergine), Ottorino Respighi’s Trittico Botticelliano (inspired by three of Sandro Botticelle’s paintings), as well as Sergei Rachmaninov’s The Isle of the Dead, Op. 29 (inspired by Arnold Bocklin’s Die Toteninsel). The research presented here seeks to reveal how musical signs describe the elements of the painting, as well as how they gradually acquire their own symbolic meaning that, in turn, ultimately allows them to transcend the visual images, and operate to present the inner content of the painting, as expressed by either the painter or the composer towards the pictorial artwork.
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O'Neal, Thomas John. "Timbre as a compositional device in selected band repertoire since 1950". Diss., The University of Arizona, 1993. http://hdl.handle.net/10150/186166.
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Since 1950, wind band repertoire has experienced accelerated change and growth. There has been a shift from orchestral transcriptions, in which wind instruments frequently have been used formulaically, to original compositions for wind band that explore new timbre possibilities. This study analyzes selected band pieces composed since 1950, paying particular attention to the use of timbre. Specific developments that are discussed, in addition to the change in band instrumentation, are the new emphasis on percussion, and the exploration of new instrument combinations and their resulting timbres. This study primarily focuses on Symphony in B-flat for Band (1951) by Paul Hindemith, Music for Prague 1968 by Karel Husa, and " ... and the mountains rising nowhere" (1977) by Joseph Schwantner. These pieces represent the efforts of renowned composers whose music is considered significant in band repertoire. Hindemith's Symphony in B-flat conforms to the standard instrumentation of the period, as dictated by the American Bandmasters Association in 1945. Husa's Music for Prague 1968 reflects considerable expansion of instrumentation, and expands the role of the percussion section. Schwantner's " ... and the mountains rising nowhere" marks a deliberate nullification of the standard instrumentation for which Hindemith and Husa composed. Even though these composers have continued to make traditional use of form and harmony, their experiments have made the band's instrumentation more flexible than that of the pre-1950 era. These composers have exploited expanded percussion writing and new combinations of instruments. The transition from a pre-determined instrumentation dictated by external influences (Hindemith), through an expansion of that standard (Husa), to a music that is freed from any instrumentation limitations (Schwantner) reflects increasing composer interest in timbre as a primary compositional element. Composers continue to experiment with the instrumentation of the band, excluding traditional instruments and adding others. They have created great flexibility in the size and make-up of wind band instrumentation and generated music that places timbre in a position of high priority.
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Ross, Gordon. "Popular music analysis". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.
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Hammond, Rachel. "Rhythmic and metric structure in Alberto Ginastera's piano sonatas". Master's thesis, University of Central Florida, 2011. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/4912.
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Alberto Ginastera (1916-1983) was one of the leading South American composers of the twentieth century. Born in Argentina at a time when his country was striving to achieve a national identity and culture, Ginastera was recognized for combining the techniques of Western European art music with elements of Argentine folk music. His piano sonatas, composed during both his early and late periods, serve as excellent examples of this cultural synthesis throughout the course of his career. The Sonata No. 1 for Piano Op. 22 (1954), Sonata No. 2 for Piano Op. 53 (1981), and Sonata No. 3 for Piano Op. 54 (1982) have been analyzed and discussed in recent scholarship. Theorists have identified Western techniques such as sonata-rondo form, serialism, and symmetry in his compositions. Yet, when addressing rhythm, scholars have focused primarily on highlighting the Argentine dance or Amerindian rhythm that the music exemplifies and have neglected to apply Western analytical tools for analyzing rhythm. The goal of this paper is to approach rhythm and meter in the piano sonatas from a new perspective in order to identify Ginastera's Western European musical techniques. Attention will be given to Ginastera's use of and denial of metric hierarchy and periodicity. The paper will also focus on consonant and dissonant rhythms in the piano sonatas, as well as additive and subtractive rhythms. Because any discussion of rhythm and meter in Ginastera's music cannot ignore its nationalistic origins, the paper provides an introductory chapter that discusses Argentine dance rhythms. However, the bulk of the paper aims to provide analyses from a Western art music viewpoint that illustrate Ginastera's compositional manipulation of rhythm and meter.ID: 030422756; System requirements: World Wide Web browser and PDF reader.; Mode of access: World Wide Web.; Thesis (M.A.)--University of Central Florida, 2011.; Includes bibliographical references (p. 70-71).
M.A.
Masters
Music
Arts and Humanities
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Bodley, Derrill George. "The development and testing of an interactive listening guide system for instructors of music appreciation". Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/2606.
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This study examined the effectiveness of a researcher-designed, computer-based, interactive listening guide system for use by instructors of music appreciation courses. The system was designed to control audio compact discs and present coordinated graphic displays describing musical events as they were heard. Its effectiveness was examined by comparing student outcomes of two subject groups, one exposed to the interactive system in one section of a music appreciation course and another exposed to traditional materials (audio compact disc player, textbook, and writing on the board) in another section of the course. In the first part of the study (“instructional effectiveness”), outcomes were quiz scores and attitudes toward instruction; in a second part of the study; in a second part of the study (“transfer of learning”), outcomes were the quality of student-generated listening guides based on music of their own choice and attitude toward this activity. Results indicated that although there was a marked difference in the reporting of enjoyment of the instructional experience between treatment and control groups, there was no significant difference in any of the product outcomes, such as quizzes or student-generated listening guides. Additional opportunities to examine and compare the effects of the two different modes of instruction over longer periods of exposure is one of nine recommendations for further research reached as a result of this study.
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Dyal, Edith Irene Colvin. "An examination of factors which associate with a successful outcome in piano lessons /". Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11169643.
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Thesis (Ed.D.) -- Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Robert Pace. Dissertation Committee: Lenore Pogonowski. Includes bibliographical references: (leaf 124).
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Sweeney, Mark Richard. "The aesthetics of videogame music". Thesis, University of Oxford, 2014. https://ora.ox.ac.uk/objects/uuid:70a29850-0c0d-4abd-a501-e75224fa856a.
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The videogame now occupies a unique territory in contemporary culture that offers a new perspective on conceptions of high and low art. While the fear that the majority of videogames 'pacify' their audience in an Adornian "culture industry" is not without justification, its reductionism can be countered by a recognition of the diversity and aesthetic potential of the medium. This has been proposed by sociologist, Graeme Kirkpatrick, although without close attention to the role of music. Videogame music often operates in similar ways to music in other mixed-media scenarios, such as film, or opera. In the same way that film music cannot be completely divorced from film, videogame music is contingent on and a crucial part of the videogame aesthetic. However, the interactive nature of the medium - its différance - has naturally led to the development of nonlinear musical systems that tailor music in real time to the game's dynamically changing dramatic action. Musical non-linearity points beyond both music and videogames (and their respective discourses) toward broader issues pertinent to contemporary musicology and critical thinking, not least to matters concerning high modernism (traditionally conceived of as resistant to mass culture). Such issues include Barthes's "death of the author", the significance of order/disorder as a formal spectrum, and postmodern conceptions and experiences of temporality. I argue that in this sense the videogame medium - and its music - warrants attention as a unique but not sui generis aesthetic experience. Precedent can be found for many of the formal ideas employed in such systems in certain aspects of avant-garde art, and especially in the aleatoric music prevalent in the 1950s and 60s. This thesis explores this paradox by considering videogames as both high and low, and, more significantly, I argue that the aesthetics of videogame music draw attention to the centrality of "play" in all cultural objects.
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Wong, Hock-wei Wendy, e 黃學慧. "Containing the German within: the unpublishedpiano works of Dohnanyi Erno". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37366889.
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Chan, Chor-shan Sharon, e 陳楚珊. "Neither here nor there: the dramatic tension between the spoken word and music performance in Igor Stravinsky'sOedipus rex (1927)". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hub.hku.hk/bib/B48199540.
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Stravinsky’s opera-oratorio Oedipus Rex was based on Sophocles’ classic tragedy
Oedipus Tyrannus. Jean Cocteau wrote the libretto for Stravinsky in French, the
text was then translated into Latin. Le speaker speaking in the audience’s native
language with a detached voice is added to the opera-oratorio to narrate the events
of the story throughout. With its mixed genres, the juxtaposition of the dead
language and the vernacular, the contrast of the spoken word and the music
performance, and the intertexual references in the music, a strong dialectical
tension is created.
This study is a critical review of the narrative mode of Stravinsky’s Oedipus Rex.
For a very long time, literature on Oedipus Rex has mainly focused on the
presentation of its music. However, as an opera-oratorio, Oedipus Rex is
composed to stage. This study aims at investigating the theatrical significance of
the work, for its theatrical presentation is influential and profound in 20th century
music theatre. Of particular note is the use of le speaker. The narration inserted in
between each musical episode creates a sense of ambivalence in the storytelling.
The work is therefore a bold challenge to the way stories have been told in theatre
over the past centuries.
The discussion concludes with the analysis of Julie Taymor and Seiji Ozawa’s
film version of Oedipus Rex in 1992. With Japanese elements infused in the work,
the dramatic tension between the spoken word and the music performance is
further polarised. This production is an example of how a combination of the
spoken word and the music performance pushes the Oedipus story further away
from Sophocles’ original.published_or_final_version
Music
Master
Master of Philosophy
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Dwyer, Edward J., P. H. Scott e E. M. Dwyer. "Fostering Appreciation of Diversity and Enhancing Learning by Integrating Reading and Music". Digital Commons @ East Tennessee State University, 2009. https://dc.etsu.edu/etsu-works/3338.
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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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Chang, Tzu-Ling, e 張祖翎. "A Study on content of Music Appreciation for Primary Music Teachers in Arts and Humanities Learning Areas". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/40752938512391307531.
Texto completo da fonteResumo:
碩士國立臺北教育大學
音樂學系碩士班
100
The Purpose of this study was to understand the current state of the teaching of music appreciation for primary music teachers and to investigate the difference between various background variables. One hundred and seventy teachers were sampled from twenty-seven public elementary schools in Taoyuan County. The response rate 69.4%, and the valid cases were 102. The instruments were “The Current State of the Teaching of Music Appreciation Questionnaire in Elementary School” and interview. The major conclusions were as the following: 1. Primary music teachers of Taoyuan County teaching emphasis was not placed on the teaching of music appreciation because of various music competitions and performances. 2. The current state of the outline arrangement of music appreciation for most primary music teachers was arranged in accordance with textbook. 3. The current state of the evaluation methods for primary music teachers was “Attitude of Interest in Evaluation”,. 4. For their convenience, the main methods of music appreciation teaching for primary music teachers were “Description” and “Introduction” 5. The plane of music appreciation that teachers regarded the most was “Emotional experience of the trigger”. 6. The aspiration of popularizing musical performances for most primary music teachers was high, but the actual situation of 50%. 7. Music teachers in Taoyuan County on the importance of teaching music recognition were high. 8. Most of music teachers think their music knowledge is not quite enough or not enough. 9. Because the demand for learning projects vary widely, it is difficult to propose a topic to be covered. 10. The most troubled obstacles of music appreciation teaching was “Teaching materials is not easy to collect”. 11. Most of music teachers hope that teachers should have the professionalism, should be prepared in a systematic and coherent materials, relevant units should be organized regularly to the training of music appreciation teaching. Based on the results of the study, suggestions were proposed for education administration, music teachers and the later researchers.
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Chao, Hui-Ching, e 趙慧菁. "Arts and Humanities of Sixth Graders Music Appreciation Computer Quiz Questions Preparation". Thesis, 2013. http://ndltd.ncl.edu.tw/handle/70721484530013334731.
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碩士國立臺中教育大學
教育測驗統計研究所
101
For promotion national accomplishment policy that to respond to soon in the middle of 12 years of national mendatory education, researcher thinks that attaches importance to music appreciation education is to be the effective way. Therefore, the purpose of this research is to exam whether the music appreciation basic ability is established in the elementary school years. Subjects of this study are the sixth graders in elementary schools. Music appreciation in music education is to provide artistic and cultural field of the study. Teachers can therefore pay greater attention to the students in the music appreciation. As the result, making the teaching quantity promoted. The researcher adopted digital computerization examinations instead of the traditional paper tests, It is therefore making subjects can take the examination in the network. In this study, students in different cultural backgrounds (indigenous and non-indigenous) and different experiences in music learning (those who have referring to whether ever joined the school musical activities or studies of musical instruments) as well as students using different versions of textbooks, are to see whether the test results have the significant difference. This research took place in Taipei, Taichung and elementary school sixth graders in Nantou Xinyi Township. The total effective samples are 718 students. The contents in music appreciation are divided in five major essential factors: Melody, Musical form, Sound , Rhythm and Effort. In the test, each essential factor has 5~6 questions, and 27 questions in total. In the end of the test the results are tested by SPSS software carries on the paired samples t examination. The results of this study are: (1) Examination item difficulty is moderate. Cronbach's α = 0.815, in confirming reaching higher authorities of its credibility. (2) The students in different cultural backgrounds shows that the non-indigenous students have higher tests results than the indigenous students. (3) Students who have extra music learning experiences outside schools achieved higher test results than those who don't. (4) The use of different versions of textbooks shows no significant differences in test results.
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Lin, Shun-Hui, e 林舜惠. "The Analysis of Music Appreciation in the Arts and Humanities Textbooks of Elementary Schools". Thesis, 2008. http://ndltd.ncl.edu.tw/handle/34858698184843640174.
Texto completo da fonteResumo:
碩士國立臺北教育大學
音樂學系碩士班
97
The purpose of this study is to analyze music appreciation materials of elementary school Arts and Humanities textbook series. The eight volumes of four textbook series, namely, Kang-Hsuan, Nan-I, Han- Lin and Jen-Lin, with a total of 32 volumes are included as research subjects. The research instruments are based upon results of literature review and self-developed (‘The Appreciated Songs Basic Information Table of Arts and Humanities Textbook Series’ and ‘Music Appreciation Instruction Content Table of Arts and Humanities Textbook Series’). Thus, the research method of content analysis is utilized to reach the research goals. Conclusions are stated as follows: 1. The appreciated songs basic information （1）The number of appreciated songs are much difference for each version. （2）Most of the appreciated songs in each version are original songs which never be arranged. （3）The contents of appreciated songs in each version are almost obtained from alien songs. （4）Most of the appreciated songs in each version which attach some score example, a large proportion of them are only to present the subject. （5）In the audio information part, most of the versions attach CDs, a large proportion of them are to present the full song. For the attached VCDs in each version are much difference. （6）The classification of appreciated songs in each version have a large proportion to belong Western classical music, secondly, are Taiwan music. （7）The playing type of appreciated songs in each version are diversiform. A large proportion of appreciated songs belong to compositions for alien instruments. 2. The contents of music appreciation instruction （1）The pages and hours of music appreciation instruction in each version are about ten percentage with a high proportion. （2）Most of the music appreciation instruction in each version accent the instruction subject on the introductions of appreciated songs, playing type and musician. （3）In terms of the music elements for music appreciation instruction implied in each version, the highest proportion of focus go to voices and instruments, and music notation. Secondly, are melody, style, and tone color, the tonality and texture are least study. （4）Every versions are effective in using the two music appreciation instruction methods of music related factor and unrelated factor. （5）The main of supplementary teaching texts for music appreciation instruction in each version are audio information, the worksheets are second, the listening maps are least. （6）The music appreciation instruction for each version can possess the evaluation of cognition, affection, and technical skill. Based on the above conclusions, the researcher makes recommendations to education administrative organization, textbook editors, teachers, and future researchers.
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Cheng, Ju-yin, e 鄭儒因. "A Study on Teaching Attitude and Applications ofInstructional Strategies of Music Appreciation forPrimary Music Teachers in Arts and Humanities Learning Areas". Thesis, 2007. http://ndltd.ncl.edu.tw/handle/50909565926514765071.
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碩士國立臺南大學
音樂學系
95
This research serves to help us understand teaching attitudes of music teachers on music appreciation and both usages and difficulties of instructional strategies on music appreciation in the Arts and Humanities Learning Areas in the grade 1-9 curriculum in Kaohsiung. An original survey, “the survey on music teaching attitudes and strategies in music appreciation of music teachers in Kaohsiung” was designed for the purpose of this research. Teaching attitudes on music appreciation are then sorted into five categories: “Elevating professionalism on music appreciation instructions”, “Values on music appreciation instructions”, “Capability of music appreciation instructions”, “Interactions between students and teachers in music appreciation”, and “Aspiration to teach music appreciation”. On the other hand, strategies in teaching music appreciation are also sorted into five categories, “Selection of teaching materials for music appreciation”,“Usages of teaching methods in music appreciation”,“Evaluation on teaching in music appreciation” , “Using resources in music appreciation”, and “Usages of teaching environments in music appreciation.” Four hundred and eighty four surveys were sent out to music teachers employed at stage two or three Arts and Humanities Learning Areas in Kaohsiung in 2006, and we received three hundred and twenty five valid results (85.08%). Using the SPSS 12.0 for Windows software to conduct descriptive statistics, independent-Samples T-Test, dependent Samples T-Test, one-way ANOVA, and Scheffe method on the collected results, the following conclusions were made: 1. Primary music teachers in Kaohsiung in general behave positive in their attitudes in music appreciation instructions. They have approving and positive opinions on values, elevating professionalism, aspiration to teach, interactions between students and teachers, and capability in teaching of music appreciation instructions in the Arts and Humanities Learning Areas. 2. Most teachers approve the direction in which the music appreciation instructional strategies are going in elementary schools in Kaohsiung; the “evaluation on music appreciation instructions” is executed the best while “Using resources of music appreciation” faces the most difficulty. 3. For primary music teachers in Kaohsiung, the application of music appreciation instructional strategies goes beyond the difficulty on it. On the contrary, the difficulty on “Using teaching resources in music appreciation” surpasses the application of it. Finally, the researcher makes recommendations to elementary school music teachers, education administrations, and further related research based on the conclusions.
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Lee, Wan-Chen, e 李宛蓁. "Content Analysis of the Music Appreciation Teaching Materials in Junior High School Arts and Humanities Textbooks". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/m4dbkh.
Texto completo da fonteResumo:
碩士國立臺灣師範大學
音樂學系
97
The purpose of the study was to conduct a content analysis of the music appreciation teaching materials in junior high school Arts and Humanities textbooks. Four textbook versions used in 2007 school year , namely, Uchen, Nani, Kang Hsuan, and Han Lin, which were approved by the Ministry of Education, were included as research subjects. The research instruments were self-developed “Content Analysis Table for Music Appreciation Teaching Materials in Junior High School Arts and Humanities Textbooks.” Through a content analysis, the researcher attempted to study the teaching material proportion, content, and the repertoire of the music appreciation. According to the findings and discussions of the content analysis, the conclusions of this research were as follows: 1.Content analysis of the music appreciation teaching materials The music appreciation teaching materials of Uchen were high in picture proportion and were significant in a basic presentation of the repertoire, included an analysis of works and an introducation of musicians. The music appreciation teaching materials of Nani were based on a brief introduction of an analysis of works in the overall content. The music appreciation teaching materials of Kang Hsuan were numerous in score illustration. Kang Hsuan also showed a variety in utilizing assessments and repertoires. The music appreciation teaching materials of Han Lin appeared significant in introducing the historical background and cultural contexts, including a rich repertoire in Taiwanese and popular music. 2.Comparison of the music appreciation teaching materials In all four versions, the proportion of music appreciation materials which exceeds 50%, and the suggested teaching hours which exceed 40% , were the main content in music textbooks. The music appreciation materials proportion of Nani was the highest. The highest proportion in picture appeard in Uchen, and the highest proportion in score illustration was the Kang Hsuan version. Regarding the content of music appreciation materials, it was significant in the analysis of works. Supplementary materials were dominant in extended materials, personage introduction and musical terms. The explanation of teaching materials was significant in an analysis of works and an introduction of musicians. Assessments were mainly formative. The teaching approaches were basically introductory and thematic. The music appreciation repertoires were mostly original music, with an emphasis on Western classical music and instrumental music. Through a content analysis of the music appreciation teaching materials, the researcher found that the music appreciation materials were considered essential in junior high school arts and humanities textbooks. Therefore, music appreciation teaching was an important issue of music education in nowadays and the future.
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Chen, Ling-Li, e 陳伶俐. "Teaching music appreciation action research on the application of animated music in the arts and humanities learning field- Using elementary school sixth graders as examples". Thesis, 2010. http://ndltd.ncl.edu.tw/handle/76068417479139721610.
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碩士國立新竹教育大學
進修部音樂教學碩士班
98
The main purpose of this research is to analyze the application of anime music in teaching music appreciation, explore the factories of influences on students’ ability and attitude of music appreciation, and analyze the effect of participating teaching music appreciation. Research subjects are 33 sixth graders in the researcher’s class in Hsin-chu County. In order to achieve the goal of this research, the data were gathered by using questionnaires, reflective journals, the notes of classroom observation, and descriptive statistical analysis. The result of the analysis reveals that, 1. The group of students taught by anime music promoted the ability of music appreciation in timbre, and the attitude of music expression and motivation. 2. The factor of sex has effect on using the music elements to appreciate music and interesting in music by means of applying anime music. 3. The scores of the arts and humanities learning field make differences in the ability and attitude of appreciating music and the participation of anime music curriculum.
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Chien, Chang Chia, e 張嘉倩. "A Research of Music Appreciation Curriculum Articulation between The Sixth to Seventh Grades in Arts and Humanities Area Textbooks". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/68193574923049100791.
Texto completo da fonteResumo:
碩士國立臺中教育大學
音樂學系碩士班
100
The scope of this thesis is twofold: the content analysis and the continuity study of music appreciation teaching materials in Arts and Humanities textbooks approved by the Ministry of Education in the 99th academic year. The study was conducted on the three versions of Arts and Humanities textbooks for sixth to seventh graders from the respective publishers, Nan-I, Kang Hsuan, and Han Lin. Two qualitative research methods, namely, documentary analysis and questionnaire survey, were employed in conjunction with the two self-developed research instruments. They were “Basic Information Table for Music Appreciation Teaching Materials in Arts and Humanities textbooks for sixth to seventh graders,” and “Continuity Analysis Table for Music Appreciation Teaching Materials in Arts and Humanities textbooks for sixth to seventh graders.” The conclusions were made as follows: I. Contents of Music Appreciation Teaching Materials i) The illustrations of the repertoires in all three versions were mostly less than half page, all lacking expositions for some songs with a low proportion of music elements. For the audio information part, only Kang Hsuan and Han Lin versions were available while Kang Hsuan version was lacked of VCD and DVD. ii) Both Nan-I and Kang Hsuan versions preferred non-classical repertoires, and Han Lin version emphasized more on classical music. As for the variety of the music, Nan-I version had more than Kang Hsuan and Han Lin versions. The performance arrangement in all three versions were diversified: Nan-I version appeared significantly in solo, Kang Hsuan version was mainly unison and solo, and Han Lin version emphasized on orchestra performance and choral works. iii) All three versions provided musical excerpts of themes. Not every piece had musical excerpts in either Nan-I and Han Lin versions while full score presentation was low proportion. Use of the worksheets was little in each version without providing practices and reflecting learning conditions. The teaching approaches were basically introductory in each version, though other teaching methods were applied occasionally, the types were not diverse. The hours of instruction varied in each version: 10 minutes in Nan-I version, a half to more than one period in Kang Hsuan version, and 20-45 minutes in Han Lin version. iv) For the comparison of the repertoires, most songs in each version were original songs. Kang Hsuan version had a large proportion in arranged songs, Han Lin version was second, and Nan-I version was least. Some arranged songs showed no information about the arrangers in all three versions. II. Articulation for Music Appreciation Teaching Materials for sixth to seventh graders i) Sequence: The better arrangement in vocal solo was Nan-I version, in folk songs was Kang Hsuan version, and in orchestra repertoires was Han Lin version. ii) Continuity: Nan-I version was superior in general, Kang Hsuan version was excelled in folk songs, and Han Lin version surpassed in western classical repertoires. iii) Articulation: Nan-I and Han Lin versions were more complete, particularly Han Lin version was the optimum to across curricula. Kang Hsuan concentrated on articulation of local music, although the classical repertoires needed to be enhanced. Based on the research findings, Music Appreciation Teaching Materials in Arts and Humanities textbooks for sixth to seventh graders in each version had advantages and disadvantages. The researcher expected this study to facilitate the future textbook editors to improve, and develop more articulation in Music Appreciation Teaching Materials.
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Shanfan, Hu, e 胡珊帆. "Analysis of Music Appreciation in the Fourth-stage Arts and Humanities Learning Areas Textbooks-Take Han Lin Editions for Example". Thesis, 2012. http://ndltd.ncl.edu.tw/handle/3q2r5w.
Texto completo da fonteResumo:
碩士大葉大學
設計暨藝術學院碩士在職專班
101
ABSTRACT This research analyzed the teaching materials of music appreciation in the 4th stage textbook in arts and humanities learning areas. “The textbook of Hanlin version on 2012 elementary and junior high school textbook list” which was published by the Determination of Textbooks Information Networks of National Academy for Educational Research was selected as the study object by the researcher. The study tool is the “4th stage textbook music appreciation content analysis rubrics of the Arts and humanities learning areas”. It is expected to intensively understand the proportion, connotation and contents of the music appreciation in the 4th stage textbook of arts and humanities learning areas. The supplementary teaching materials collected by the researcher are integrated and used as reference and teaching material. According to the analysis result, conclusions are drawn as below: 1. The content proportion of music appreciation teaching materials: The percentage of music appreciation teaching materials is over 50%, which is the main part of the music appreciation textbook of Hanlin version of Arts and humanities learning areas. 2. The contents of music appreciation teaching materials: The contents of music appreciation teaching materials are mostly the analysis of music works, mainly focus on two parts of music elements and brief introduction to music. It can avoid the teaching of music appreciation becoming boring cognitive learning. In the meanwhile, it can avoid be superficial. 3. Music pieces for appreciation: The overall teaching materials of music appreciation are rich and diversified. They can help the students to be familiar with various and wide music culture and develop students’ correct appreciation attitude. Furthermore, it enables the students to accumulate aesthetic experience. Through the exploration of the proportion, connotation and contents of the music appreciation in the textbook of arts and humanities learning areas, the researcher found out that the contents of the 4th stage music textbooks of arts and humanities learning areas was changed from focus of music theory, music knowledge to appreciation and aesthetic education gradually. It is easy to see that music appreciation has gradually become the main trend in the music education in high school in our country. Key Words : Arts and Humanities,Textbook,Music Appreciation
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Wan, Chun Liao, e 廖婉君. "A Study of Visual Art Elements on Music Appreciation Teahcing of Curriculum Integration in Elementary School Arts and Humanities Teachers of Taichung City". Thesis, 2009. http://ndltd.ncl.edu.tw/handle/51137979501231966005.
Texto completo da fonteResumo:
碩士國立臺北教育大學
音樂學系碩士班
98
This study is intended to motivate teachers of arts and humanities to do more profound thinking towards teaching of music appreciation by visual art elements on teaching of music appreciation, which reinforces meaningful self-correction and reflection during teaching process. In this study, the author uses two methods: literature review and questionnaires for the tools of the study to establish the theories and the structure of the research. The author collected questionnaires from 209 music teachers of Arts and Humanities from primary schools that established by government in Taichung. The survey tool, the questionnaire, entitled: “A Study of Visual Art Elements on Music Appreciation Teaching of Curriculum Integration in Elementary School Arts and Humanities Teachers of Taichung City”. Effective sampling data is based on the analysis of the following methods: number of distribution, percentage, average, standard deviation, T-test, and one way ANOVA and so on. 209 questionnaires were sent out, and 185 received. The recover rate was 88.52%. The findings of this research were as the follow: 1. The music teachers showed high degree on visual art elements on teaching of music appreciation of curriculum integration. 2. The music teachers had troubles in current environment on visual art elements on teaching of music appreciation of curriculum integration. 3. The music teachers felt confuses on on visual art elements on teaching of music appreciation appreciation teaching of curriculum integration. 4. The music teachers’ six relative background had no significant influence in the results of the opinions and confusion. 5. There is significant influence of the teachers’ ages and duties of current teaching environment. According to the study results, the author made several suggestions to education administration units, music supervisors in the arts and humanities study domain, music teachers, and future study for the reference of teaching.
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Chang, YA-CHUN, e 張雅君. "An Analysis and Research of Music Appreciation Curriculum in Arts and Humanities Learning Textbooks of Elementary Schools – Taking Han Lin Editions for Example". Thesis, 2019. http://ndltd.ncl.edu.tw/handle/4656u9.
Texto completo da fonteResumo:
碩士東吳大學
音樂學系
107
The purpose of this study is to analyze the content of music appreciation courses on art and humanities textbooks of the elementary school. The object of the research was the Hanlin version approved by the Ministry of Education in the 2017 academic year, a total of eight volumes. After the "Classification Table of Music Appreciation Basic Information for Arts and Humanities Textbooks" and "Classification Table for Music Appreciation of Arts and Humanities Textbooks" were originally the content was analyzed and summarized for this study. The conclusions of the study are: I. Basic Information of Music Appreciation Track A.With regard to the Chinese and foreign music material selection, the focus is placed on foreign music pieces. B.In the classification of the music track, foreign instrumental music accounted for the highest proportion. In the performance style, the number of the orchestral ensemble was the highest, followed by the singing category. C.Audio materials presentation are divided into three kinds, i.e. CDs, DVDs and teaching e-books. The highest proportion of audio material was provided on CDs. D.Of the music excerpts provided in the music appreciation pieces most are "Theme Spectrum"and there are fewer instances of the complete spectrum scores. II. Teaching Contents of Music Appreciation A.The number of teaching hours spent on music appreciation is highest for volume 7,while the lowest number of hours spent on appreciation is in volumes 1 and 2. B.As for the number of teaching pages, volume 7 accounts for the largest; the lowest number of pages is in volumes 1 and 2. C.In the teaching activities, the teaching theme is emphasized, and each song contains an introduction of the musical composition. The following is addressed in this order: "Introduction of Creation Background", "Introduction of Performance Style", "Introduction of Musicians", "Analysis of Works", "Introduction of Instruments", and "Comparison of Works". D.The evaluation components are mainly focused on "Cognition and Affection". The "Cognition + Affection" Evaluation is available from volume 1 to volume 8, and the "Skills" aspect is only available in volumes 6 and 7.
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Yi, Lin Fang, e 林芳儀. "The Analysis and Comparison of Music Appreciation on Elementary Arts and Humanities Textbook with Referentialism, Formalism,and Expressionism Tacking Kang-Hsuan and HanlinVersion as Example". Thesis, 2016. http://ndltd.ncl.edu.tw/handle/8v6qgg.
Texto completo da fonteResumo:
碩士國立臺北教育大學
音樂學系碩士班
105
Abstract The purpose of the research is to analyze and compare two versions of arts and humanities textbooks Kang Hsuan and Hanlin in fifth and sixth grade about music appreciation track context. The research mainly focus on three issues, which are referentialism （appreciation of song’s meaning）, formalism （appreciation of the song’s background , composer’s personal life and the music form）, expressionism （Through music appreciation to express who, how, and what）, others （before the introduction of the track should add with some associated anecdotes, aiming to let students have interests in the song）. Whereby the two versions of the difference to provide useful suggestions for teacher and personal who are engaged in the work related to music teaching, editors and textbook publishers. To summarize the results are as follows: 1.referentialism : About music appreciation in 2 versions textbooks of Kang Hsuan, Hanlin Arts and Humanities in five and sixth grade , except version of Kang Hsuan of fifth grade first semester（march of rad Ziji）and sixth grade 2nd semester textbook （Scottish warrior） haven’t illustrate the meaning of the song. Other songs of music appreciation have described the song ‘s meaning. 2.Formalism: In 2 versions textbooks of Kang Hsuan, Hanlin of Arts and Humanities in five and sixth grade ,version of Kang Hsuan, there are 11 songs of music appreciation songs haven’t introduce the composers .In version of Hanlin , there are 9 songs of music appreciation songs haven’t introduce the composers . Nor introduction of music forms neither introduction the name of the songs,in version of Kang Hsuan were thirteen songs, in version of Hanlin were eight songs. 3.Expressionism: The 2 versions textbooks of Kang Hsuan, Hanlin of Arts and Humanities in five and sixth grade , each song has its own theme and sometimes introduce the background, the relevant instruments ,vocal or musical genres, etc. 4.Other parts: Teaching activities must be able to lead motivation.In both two version of textbooks , the first step to motivate student is to watch videos or listen to music CD. A few of music appreciation songs suggest music teachers to tell a story.For example（Sorcerer's disciple）or look at pictures（Carnival of the Animals）