Дисертації з теми "University music study"
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1
Carfoot, Gavin Steven. "Deleuze and music : a creative approach to the study of music /." [St. Lucia, Qld.], 2004. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe18365.pdf.
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2
Lorenzino, Lisa M. "Educational reform and the process of change in Canadian university music education programs." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30185.
Повний текст джерелаАнотація:
This study examined the perceptions of music education students, professors, administrators and music teachers in the field with respect to the call for reform in Canadian music teacher training programs. The role that these various groups envision themselves having in this process was also investigated. Fifty-five subjects from the provinces of Quebec and Alberta responded to items on a written questionnaire. From within this subject pool, 19 subjects participated in a series of two interviews in order to gain further insight on various questionnaire items. Results demonstrated a moderate degree of similarity in responses from the stakeholder groups on numerous issues including the current status of music education programs, recommendations for future reform, and effective methods to enact such reforms. Results highlighted the need (a) to increase collaboration levels amongst all stakeholders involved in the process of music teacher training reform and (b) to better align the curriculum content of the university classroom with the needs of the teaching field. Implications for further practises are discussed.
3
Spencer, Steven John. "Musicians at the margins : a case study of the role of instrumental music teachers in a university music department." Thesis, University of Wolverhampton, 2015. http://hdl.handle.net/2436/561191.
Повний текст джерелаАнотація:
This study presents the outcomes of an exploration of the ways in which instrumental music teachers (IMTs) engaged to teach in UK university departments experience their work and interpret their role. It provides the basis for realistic steps for enriching their contribution to and relationship with the department in which they are situated. The area of activity was examined through a qualitative research approach within a single case study design that highlights the particularities and complexities of the case and of its context. It progressed through semi-structured interviews, document review, job-shadowing and a research diary that engaged participants in an iterative process aimed at generating rich descriptions of the situation and increasing the veracity of its subsequent interpretation. The findings echo the isolated location found in earlier studies of IMTs in HE (Burwell, 2005; Haddon, 2009; Purser, 2005, Young et al, 2003) but note that they did not display the secretive or isolationist tendencies previously espoused. Instead there was a narrative of neglect and exclusion by the employer that contributed to a low sense of entitlement from these employees who occupy a peripheral and static position at the margins of departmental operations. It concludes that IMTs do not form a convenient organisational sub-unit (Weick and Orton, 1990) or a community of practice (Lave and Wenger, 1991) that would respond in a uniform fashion. Instead, they experience their engagement with the university in an individual manner framed by their personal and professional environment or umwelt (Uexküll, 1985) and interpreted according to their particular interests, needs and priorities. Finally it suggests that the employing department must recognise this diversity and facilitate greater participation of its IMTs through the creation of permeable boundaries that permit but do not require involvement in curriculum design and assessment, teaching innovations and research into instrumental pedagogy.
4
Bennett, Erin Kathleen. "Czech nationalism in music a study of Smetana's Czech Dances, Book 2 for Piano /." Cincinnati, Ohio : University of Cincinnati, 2009. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1251230010.
Повний текст джерелаАнотація:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2009.Advisor: Jonathan Kregor. Title from electronic thesis title page (viewed Nov. 10, 2009). Includes abstract. Keywords: Smetana; piano; Czech; nationalism. Includes bibliographical references.
5
Ninmer, Andrew J. "Non-curricular elements to a successful university jazz performance program| A study of UNT, IU, and CSULB." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1528009.
Повний текст джерелаАнотація:
This project report examines the importance of non-curricular elements in a successful collegiate jazz performance program. In order to understand what makes a program successful, this paper first reviews the history of three successful jazz programs—Indiana University (IU), University of North Texas (UNT), and California State University, Long Beach (CSULB)–and evaluates the components that led to their success. After a brief introduction of these three programs, the non-curricular elements that help to form each successful university jazz performance program are examined. Oftentimes, non-curricular elements are perceived as non-essential and therefore their benefits are not fully realized. Using IU, UNT, and CSULB as a benchmark, this project report examines their approaches to non-curricular ideas. This study will provide an understanding of how a prospective student might prepare for and benefit from these elements as part of a comprehensive collegiate jazz performance program.
6
Britton, Amy Christine. "A Study of Felix Mendelssohn's Piano Fugues." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1220458221.
Повний текст джерелаАнотація:
Thesis (Master of Music)--University of Cincinnati, 2008.Advisor: David Berry Ph.D. (Advisor), Catherine Losada Ph.D. (Committee Member), Melinda Boyd Ph.D. (Committee Member). Title from electronic thesis title page (viewed Jan. 18, 2009). Includes abstract. Keywords: Mendelssohn; fugue. Includes bibliographical references.
7
Burke, Donita Baham. "A Music Curriculum for the Non-Music Major Teacher of the Intermediate Grades." UNF Digital Commons, 1985. http://digitalcommons.unf.edu/etd/71.
Повний текст джерелаАнотація:
This study was developed for the teacher who may have limited resources in music education. The purpose of this study was to design a curriculum in music education for the intermediate grades so that a non-music major teacher could easily instruct music lessons. The characteristics of musical growth have been outlined and research has been shown to support the musical characteristics. A set of objectives has been formed as the foundation for teaching music to children of the intermediate grades. The curriculum devised has three components for the teacher to follow: songs appropriate for each season, holiday or month, listening to American composers, and creating musical instruments. The activities listed have been selected for student appeal and enrichment suggestions are given to allow the teacher the opportunity to expand the, music lesson. It is with great hope that this study will give the teacher confidence to undertake a program of music that may have been otherwise nonexistent in the classroom.
8
Daniels, Delia Josianne. "Keyboard tuition for adult beginners : investigating Practical Piano Study 171 at the University of Stellenbosch." Thesis, Stellenbosch : Stellenbosch University, 2002. http://hdl.handle.net/10019.1/49730.
Повний текст джерелаАнотація:
Thesis (MMus) -- Stellenbosch University, 2002.ENGLISH ABSTRACT: In 1999, two certificate courses were introduced at the Department of Music of the University of Stellenbosch, namely the BMus Foundation Programme (preparatory) and the Introductory Programme in Music. The BMus Foundation Programme aims to reach students who intend doing the BMus Programme but do not meet the required standard for the BMus Programme at the time of enrolment. On the successful completion of the BMus Foundation Programme, these students can then be promoted to the BMus Programme. The Introductory Programme in Music concentrates on students who have had little or no prior formal theoretical or practical training in music. These students aim to obtain, an understanding of the fundamentals off'music within the minimum period of one academic year. The Introductory Programme in Music is dual-functional: Students can terminate their studies on completion of the course or 11 Students who wish to continue their studies in music can enrol for the BMus Foundation Programme on completion of the Introductory Programme in Music. The Introductory Programme in Music. consists of the following modules: Music Skills 171, Choir Singing 179 and Practical Music Studies: Preparatory 17l. The Practical Music Studies: Preparatory 171 module concentrates on teaching students the basic practical skills required to play an instrument. The student decides which instrument he/she wants to study. This thesis focuses on piano and electronic keyboard instruction for Practical Music Studies: Preparatory 171. The course will be referred to as Practical Piano Study 171 throughout the thesis. At the completion of the Introductory Programme in Music, students need to have reached a Grade 3-4 (UNISA) level for Practical Piano Study 171. In this thesis, the present syllabus implemented for Practical Piano Study 171, is critically investigated. This investigation includes the following: the forms of tuition offered, that is, group and individual tuition, the curriculum material that is used and the curriculum itself Furthermore, the psychological, physiological and mental make-up of the student enrolling for this course in general will be discussed. In this instance, the umbrella term "adult" is used. Attention is also given to teaching aids that can assist in piano and electronic keyboard instruction. A demonstration video is included with the thesis in order to illustrate its potential as a teaching aid. Suggestions based on the conclusions drawn from this research are given for the improvement of Practical Piano Study 171.
AFRIKAANSE OPSOMMING: Die Departement Musiek van die Universiteit van Stellenbosch het gedurende 1999 twee sertifikaat kursusse ingewy, naamlik die BMus Basisprogram (Voorbereidend) asook die Inleidende Program in Musiek. Die BMus Basisprogram beoog om uit te reik na studente wat die BMus Program wil volg, maar wat nie tydens inskrywing aan die vereiste standaard van die BMus Program voldoen nie. Na die suksesvolle voltooiing van die BMus Basisprogram, kan hierdie studente tot die BMus Program bevorder word. Die Inleidende Program in Musiek konsentreer op studente wat min of geen teoretiese of praktiese opleiding in musiek ontvang het nie. Hierdie studente se doelwit is om 'n begrip van die grondbeginsels van musiek binne die minimale tydperk van een akademiese jaar te bekom. Die Inleidende Program in Musiek het 'n tweeledige funksie: Die student kan die kursus teen die einde van die akademiese jaar voltooi of 11 Studente wat na voltooiing van die Inleidende Program in Musiek graag met hul studies in musiek wil voortgaan, kan vir die BMus Basisprogram inskryf Die Inleidende Program III Musiek bestaan uit die volgende modules: Musiekvaardighede 171, Koorsang 179 en Praktiese Musiekstudie: Voorbereidend 171. Laasgenoemde kursus konsentreer daarop om studente die basisse praktiese vaardighede wat vir die bespeling van 'n musiekinstrument vereis word, aan te leer. Die student besluit watter instrument hy/sy wil bestudeer. Hierdie tesis fokus op klavier- en elektroniese klawerbordonderrig vir Praktiese Musiekstudie: Voorbereidend 171. In hierdie tesis sal deurgaans daarna verwys word as Praktiese Klavierstudie 171. Teen voltooiing van die Inleidende Program in Musiek behoort studente reeds 'n Graad 3 - 4 (UNISA) vlak in Praktiese Klavierstudie 171 te bereik het. Die huidige leerplan wat vir Praktiese Klavierstudie 171 geïmplimenteer is, word in hierdie tesis krities ondersoek. Dié ondersoek die volgende: die wyses waarop onderrig aangebied word, dit wil sê, groep- en individuele onderrig, die kurrikulêre inhoud wat gebruik word, sowel as die kurrikulum. Verder word die algemene psigiese, fisiese en verstandelike aspekte van die student wat vir hierdie kursus inskryf, bespreek. In hierdie instansie word die alomvattende term ''volwassene'' gebruik. Aandag word ook geskenk aan die onderrighulpmiddels wat tot klavier- en elektroniese klawerbord-onderrig kan bydra. 'n Demonstrasievideo word by hierdie tesis ingesluit om die potensiaal daarvan as 'n hulpmiddel te illustreer. Wenke ter bevordering van die Praktiese Klavierstudie 171 kursus wat op die gevolgtrekkinge van hierdie ondersoek gebaseer is, word ter afronding aan die hand gedoen.
9
Wright, Colin Richard. "Investigating aural : a case study of its relationship to degree success and its understanding by university music students." Thesis, University of Hull, 2015. http://hydra.hull.ac.uk/resources/hull:13100.
Повний текст джерелаАнотація:
The central aim of this research is twofold: first, to examine the relationship between university music students’ aural ability as measured in examination marks and overall success on a music degree programme; and second, to investigate current university music students’ views on aural and its importance in a music degree programme. Previous research indicates that aural skills are vital in developing musical expertise (see Karpinski, 2000a), yet the precise nature of those skills and the emphasis placed upon them in educational contexts merits attention. An extensive review of literature provides an introduction to terminology as well as a framework with which to understand research perspectives on aural, specifically to address aural in practice and aural as process. Two empirical studies are carried out as part of a case study investigation in this thesis: Study 1 compares aural test scores with overall marks obtained in a music degree so as to investigate their potential correlation; Study 2 analyses the views of current undergraduate and postgraduate music students from the same institution via focus groups about aural alongside their response to the data obtained in Study 1. Findings indicate that there are positive correlations between students’ aural test marks and overall degree results, although these are not always significant. The views of current students about aural reflected shifts in understanding from undergraduate to postgraduate level, with the former offering specific ideas about what it entails and highly subjective attitudes towards it, and the latter providing abstract and broad appreciation of aural in music practice. The students provided tentative remarks about the findings of Study 1. Related issues that emerge within the research, including the students’ views on training, singing, and the role of module choice in gaining a music degree, are debated as part of the thesis.
10
Cummings, Joanne. "Sold out ! an ethnographic study of Australian indie music festivals /." View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--University of Western Sydney, 2007.A thesis submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy to the College of Arts, School of Social Sciences, University of Western Sydney. Includes bibliographical references.
11
Apostolaki, Artemis. "Working memory for music, pitch labels and solfège : a cross-cultural study of university students' aural and cognitive skills." Thesis, University of Hull, 2012. http://hydra.hull.ac.uk/resources/hull:10117.
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12
Johnson, Brandon Paige. "Elements of excellence: A study of musical and non-musical factors common within non-conservatory college and university choral programs recognized for excellence." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/280289.
Повний текст джерелаАнотація:
This study explores commonalities found within six non-conservatory college/university choral programs recognized for excellence within art of choral performance. The study provides areas of reform for other choral directors in an effort to further develop choral singing in post secondary institutions of the United States. The participating institutions were selected by a survey of their peers and were limited, by category, as delineated by the Carnegie Foundation. The institutions chosen for participation include: Concordia College, St. Olaf College, Northern Arizona University, San Jose State University, Florida State University and The University of Illinois Champaign-Urbana. Interviews with the Directors of Choral Activities and of the Directors of the Schools of Music are used to collect musical and non-musical information. The author has provided a discussion of commonalities, recommendations for reform, and a literature compilation of the selected institutions choral performances, as a reference guide for current choral conductors. Areas of discussion include: rehearsal technique, literature, collaboration, funding considerations, and administrative concerns.
13
Fridley, Michael D. "Support materials for the use of Pygraphic's The music writer in the beginning music theory class at Sacramento High School Visual and Performing Arts Center : in partial fulfillment." Scholarly Commons, 1988. https://scholarlycommons.pacific.edu/uop_etds/2150.
Повний текст джерелаАнотація:
The objective of this project was to develop the necessary materials to facilitate the use of The Music Writer in the music theory class of Sacramento High School’s Visual and Performing Arts Center. The materials were designed to correct the deficiencies in the programs’ documentation, and include tutorials that sequentially introduce beginning students to the basic features of the program.
The course is designed to teach skills and techniques in music fundamentals while providing students with practical experience involving the current technological advances in the field. These materials will enable the students to utilize professional level software in their study of basic music theory. Specifically, they will be able to use the program to write a simple diatonic melody, which has been composed as an assignment for the course.
14
Fu, Hui-Ju Camille. "A status and vision investigation of US university piano pedagogy programs." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3671/.
Повний текст джерелаАнотація:
The two major research questions were: “What is the current status of 20 prominent piano pedagogy programs?” and “what is the vision of an ideal future piano pedagogy program from the perspective of 20 piano pedagogy leaders?” Subjects were the leaders of the top 20 US university piano pedagogy programs. A survey study with interview questions was used as the instrument for the study. The results showed that faculty, curriculum, and teacher training were three top factors that contributed to the quality of the programs. Most interviewed subjects held a doctoral degree in music. The curricular content and degree options were diverse across the selected programs. The content of teacher training included private and group teaching. The perceived best qualifications of a piano pedagogy instructor were to have a balanced education. Most programs had small or little to no budget, however, the preparatory program was perceived to be an enhancement to teacher training program finances. The greatest challenges were faculty acquisition and financial limitations. Gaining more money was the most common improvement priority for programs. To envision an ideal future piano pedagogy program, most leaders stated that an ideal program should contain encourage: (1) collaborating with other divisions' faculty members for developing a diverse curriculum, (2) providing multiple types of teacher training, (3) offering knowledge that is highly pertinent to students' future careers, (4) continually adjusting topics in the curriculum, and (5) utilizing all the possible resources to establish up-to-date facilities. The chief obstacle was a lack of money. However, finding a major donor, and developing a preparatory program to generate money may help to overcome the obstacles. Having administrators with positive attitudes toward pedagogy could help programs to gain more resources. Encouraging students to participate in workshops and conferences could enrich the training. Several recommendations may help emerging pedagogy programs, such as : (1) raising faculty's visibility in public, (2) developing a diverse curriculum and collaborating with other faculty from different divisions, (3) establishing a preparatory program, (4) offering diverse degree options, (5) developing a general pedagogy degree, and (6) educating administrators on the importance of piano pedagogy.
15
Stieler, Kathryn Ann. "Louis Durey's Le Bestiaire a performance study /." Cincinnati, Ohio : University of Cincinnati, 2008. http://rave.ohiolink.edu/etdc/view.cgi?acc_num=ucin1222939742.
Повний текст джерелаАнотація:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2008.Advisor: Mary Stucky. Title from electronic thesis title page (viewed feb.16, 2009). Includes abstract. Keywords: Durey; Le Bestiaire; Apollinaire; Dufy. Includes bibliographical references.
16
Rickey, Eunice L. "An investigation to observe the effects of learning style on memorization approaches used by university group piano students when memorizing piano literature." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1285407.
Повний текст джерелаАнотація:
Piano proficiency students who are required to memorize music take different approaches in their learning process. They may not be aware of how they memorize or how these approaches are related to their learning style preferences. Seventeen test subjects (N=17) who volunteered from a private university in north central Indiana were _ tested for their learning style preferences and then were given a sample of music to memorize. A video camera recorded the memorization process for observation of the learning approaches each subject used while memorizing. In addition, each subject completed 1) a brief experience and task ease pretest, 2) an interview while observing the video of what took place during the memorization process, and 3) a posttest questionnaire on learning approaches used.The purpose of this study was to observe which learning approaches to memorization were being used by group piano students and which of these were most effective in short memorization tasks. Investigation of existing literature of piano pedagogy found that the most common ways in which pianists memorize are by using aural, visual, tactile and analytical approaches.Subjects who were observed for this research had a tendency-to memorize more from the visual and tactile approaches. Out of the 17 class piano students who were observed, 15 or 88% used visual and or tactile memory as their preferred approach. Students also assessed their own procedure of memorization by rating the approach as to how much they used it. Findings in this posttest questionnaire indicated that the aural and visual approaches to memory were rated by the students as being the preferred ways of memorizing. Thirteen subjects or 76% indicated that they preferred the aural and or visual memory approach to memory.The effectiveness of these approaches was indicated by the subjects receiving a memory performance rating. This research showed that there was more tendency for subjects using visual approach memory to receive the best memory scores (excellent, no errors). This study also indicated that students using the analytical approach to memory tended to have the highest percentage of best performance score (two of three received excellent/no errors scores).School of Music
17
McGahie, Paul Douglas. "THE CHORAL FUGUE: A COMPARATIVE STUDY OF STYLE AND PROCEDURE IN WORKS BY J.S. BACH AND W.A. MOZART." Cincinnati, Ohio : University of Cincinnati, 2006. http://www.ohiolink.edu/etd/view.cgi?acc%5Fnum=ucin1155660835.
Повний текст джерелаАнотація:
Thesis (Dr. of Musical Arts)--University of Cincinnati, 2006.Title from electronic thesis title page (viewed Oct.10, 2006). Includes abstract. Keywords: music, choral music, choral fugues, fugues, Bach, J.S., Mozart, W.A., choral Includes bibliographical references.
18
Irving, David Ronald Marshall. "Lamentation settings by Manuel José Doyagüe (1755-1842) recently rediscovered in Manila : a contextual study and critical transcription /." [St. Lucia, Qld.], 2003. http://adt.library.uq.edu.au/public/adt-QU20040816.171235/index.html.
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19
Jimison, Zachary N. "The Effect of Music Familiarity on Driving: A Simulated Study of the Impact of Music Familiarity Under Different Driving Conditions." UNF Digital Commons, 2014. http://digitalcommons.unf.edu/etd/539.
Повний текст джерелаАнотація:
Music is one of the most popular activities while driving. Previous research on music while driving has been mixed, with some researchers finding music to be a distractor and some research finding music to be facilitative to driving performance. The current study was designed to determine if familiarity with the music might explain the difference found between self-selected and experimenter-selected music, and whether the difficulty of the driving conditions affected music’s relationship to driving performance. One hundred and sixty-five University students participated in a driving simulation both with music and without music. Under the “with music” condition, participants were randomly assigned to three music conditions: self-selected music, experimenter-selected familiar music, and experimenter-selected unfamiliar music. In the simulation drive, participants first drove under a simple, low-mental workload condition (car following task in a simulated suburban road) and then drove under a complex, high-mental workload condition (city/urban road). The results showed that whether music was self- or experimenter-selected did not affect driving performance. Whether the music was familiar or unfamiliar did not affect performance either. However, self-selected music appeared to improve driving performance under low-workload conditions, leading to less car-following delay and less standard deviation in steering, but also caused participants to drive faster, leading to faster mean speed and higher car-following modulus, but not more speed limit violations. Self-selected music did not have any significant effect in high-mental workload conditions.
20
Stewart, Michael John. "A study of first-year students within The Ohio State University and the factors influencing nonparticipation in band programs at the collegiate level." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1180417443.
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21
Grant, Daniel Ross 1955. "The Texas Music Educators Association: A Historical Study of Selected Landmark Events Between 1938 and 1980 and the Decisions Which Influenced Their Outcomes." Thesis, University of North Texas, 1989. https://digital.library.unt.edu/ark:/67531/metadc331139/.
Повний текст джерелаАнотація:
The purpose of this study was to investigate selected landmark events in the historical development of the Texas Music Educators Association, 1938-1980, and the decisions which influenced their outcomes. A polling of twenty former presidents of TMEA selected the following landmark events that helped to shape the history of TMEA: (1) the change from a band organization to a music educators organization in 1938, (2) the University Interscholastic League takeover of contests in 1947, and (3) TMEA's separation from the Music Educators National Conference in 1976.
In addition to developing a historical chronology from documentary sources, in-depth interviews were conducted with actual participants in these landmark events. The interviews utilized comparable questions, in order to identify decision-making patterns, while also capturing the atmosphere and visceral context of TMEA history. Literature from the social science disciplines on organizational decision—making was explored for help in understanding what happened, how, and why.
In all three events the final decision was strongly influenced by factors external to the TMEA. The strong power position held by school administrators was evident in both the first and second events, while reinforcement from actively lobbying choral directors was also a factor in the first event only. The strong ultimatum from MENC, backed by their unchallenged charter authority, was a key factor in the third event. Still, TMEA continued to grow, and avoided debilitating organizational trauma. TMEA leaders often demonstrated a capacity to react quickly to sudden changes in the organizational environment, turning potential liabilities into assets. The TMEA was found to be an organization greatly dependent on the decisions of others, but strongly independent and self-sufficient in spirit. This independence has both negative and positive potential. It can become an unnatural barrier between Texas music educators and the MENC, or it can fuel the drive for professional excellence in music education.
22
Lynch, John James. "A study of the methods of composition and transcription developed in Bartok's First Rhapsody for violin and piano (1928) with regard to its recent transcription for viola and piano /." St. Lucia, Qld, 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe17281.pdf.
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23
McDonald, Courtney. "The effect of adapted musical instruments on the participation of children with severe and multiple disabilities : a mixed methods study." Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/790.
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24
Davids, John W. R. "Engaged scholarship at the South African College of Music of the University of Cape Town: An exploratory study of the perceptions and practices of full-time music academic staff." Master's thesis, Faculty of Humanities, 2018. https://hdl.handle.net/11427/32091.
Повний текст джерелаАнотація:
Debates concerning the concept of 'engaged scholarship’ (ES) in terms of university-society connectivity have become part of the discourse within the shifting South African higher education landscape after 1994. Given the legacy of historical inequalities continuing to permeate all spheres of South African society including higher education, the idea of social-justice-centred engaged scholarship forms the main thrust of the narrative in this thesis. Furthermore, with music inherently geared towards societal engagement, and 'engaged scholarship’ included in UCT’s latest Social Responsiveness Policy Framework, this thesis critically examines the ES responses - in terms of their perceptions and practices - of music academics at the SACM in post-1994 South Africa.
The opening chapter outlines the largely two-pronged research methodology approach pertaining to the analysis and findings of: (1) literature and documents, and (2) in-depth interviews of a representative sample of full-time SACM music academics. Chapter 2 provides a historical sociology unpacking the ES concept as part of an emergent University Third Mission. With developments largely unfolding at American universities, the first part of Chapter 2 shows the development of ES as essentially following two routes. Firstly the Triple Helix notion of university-industry-government (U-I-G) relations since the mid-20th century, identified by Etzkowitz as a 'Second Academic Transformation’ grafted on an earlier 19th century 'First Academic Transformation’ which began in Germany. Then secondly, in the 1990s a broadened view of scholarship aimed at making universities more relevant to the needs of society (i.e. via U-CS or university-civil society links) proposed by Boyer.
With the issue of an emergent University Third Mission also entering the South African higher education discourse after 1994, the second part of Chapter 2 highlights conceptual confusion by considering policy and conference debates on 'community engagement’ (CE), the preferred expression for university-society relations in South Africa. Unfolding developments at UCT however have resulted in a discourse of ES becoming integral to this university’s Social Responsiveness Policy Framework after 2012. Moreover with social justice largely absent from CE discourse and the Triple Helix, Cooper has proposed a Quadruple Helix whereby civil society is added as fourth helix (i.e. resulting in U-I-G-CS). The approach of this study, therefore, explores the concept of a social-justice-centred engagement (outlined in part three of Chapter 2) with which it strongly resonates.
Chapter 3 focuses attention on the milieu and ethos of UCT and the SACM, putting SACM music academics, part of an elite historically 'white’ university, in perspective. This highlights the entrenched hegemony of the historically 'white’ European settler institutional culture and 'orphan’ status of music indigenous to Africa at the SACM. Against this backdrop Chapter 4 provides a snapshot of the ES perceptions and practices of SACM music academics derived from the in-depth interviews. Importantly, with music largely absent from ES discourse, including at UCT, the critical analysis of the narratives of music academics form the basis for this thesis creating four music-specific ES categories in this chapter, and a proposed typology of music-specific ES in Chapter 5.
In addition, a particularly important finding in Chapter 5 depicts the SACM as probably the most engaged UCT department, mainly displaying elements of the Quadruple Helix (U-I-G-CS), but with this engagement significantly skewed towards largely 'white’ civil society. Moreover, given the historically Eurocentric ethos of the SACM, western classical music has retained its uncontested hegemony (including within the SACM student curriculum) despite the introduction in the 1980s of new streams of non-western classical music, including music indigenous to Africa. With reference to ES, the engagement of the majority of SACM music academics was, furthermore, found overwhelmingly to be with the elite social classes. However, 'black’ academics were significantly more engaged with the 'black’ working class than their 'white’ counterparts.
Considering the core findings above, pathways enabling the development of more balanced SACM-society relationships, particularly with the 'black’ working class majority have been proposed in the concluding chapter. A crucial recommendation is the decolonisation of the institutional culture and curriculum of the SACM, thereby restoring the former 'Other’, to 'Self’. These being spaces outside the comfort-zone of most music academics, it is suggested that music-specific ES research, potentially able to shift embedded reasoning, should become integral to the decolonisation process.
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Mitchell, William Kenneth. "Teaching the Bass Tuba: A Survey of Current Trends in the College and University Applied Studio in the United States." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/mitchell_III_william_kenneth/index.htm.
Повний текст джерелаАнотація:
Thesis (D.M.A.)--University of North Texas, 2006.System requirements: Adobe Acrobat Reader. Accompanied by 4 recitals, recorded June 26, 2000, June 18, 2001, Nov. 4, 2002, and Oct. 2, 2006. Includes bibliographical references (p. 50-54).
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Williams, Richard (Richard S. ). 1958-2001. "An Attributional Analysis of the Causes Cited by Junior High School Band Directors for Success and Failure at U.I.L. Concert/Sightreading Contest and Their Attitudes Towards Contest." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500615/.
Повний текст джерелаАнотація:
The reasons given by thirty-three junior high school band directors for success and failure at the University Interscholastic League Concert/Sightreading Contest were studied using the methodology of Attribution Theory. All of the subjects attended the same contest and were members of a region which included urban and suburban schools. The subjects responded to a questionnaire which evaluated their attitudes towards the contest, allowed them to make judgments about other directors in hypothetical contest situations, and finally asked them to list the five most important reasons for their success or failure at the contest in an open-response format.
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Sholl, Allan Coleman. "A conductor's study of the first movement of Gustav Mahler's Fifth symphony." Scholarly Commons, 1987. https://scholarlycommons.pacific.edu/uop_etds/495.
Повний текст джерелаАнотація:
The purpose of this study is to become acquainted with the first movement of Mahler’s Fifth Symphony in the same manner as a conductor would when preparing the work for performance. Dr. William Dehning stated in his doctoral thesis: “The correct execution of any music imposes a great responsibility on the conductor of that music to determine what the composer might have intended.” The areas of concern to be discussed in this thesis, then, include analysis, thoughts on aesthetic and stylistic qualities, and some historical accounts relating directly to the Fifth Symphony.
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Bouwer, Renette. "A critical study of models implemented by selected South African university choirs to accommodate cultural diversity." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2783.
Повний текст джерелаАнотація:
Thesis (MMus (Music))--University of Stellenbosch, 2009.The goal of this study is to explore three different models that three selected university choirs chose to accommodate diversity: two choirs with different identities existing independently alongside each other on one campus (model A), one choir, implementing diversity (model B) and one choir with a Eurocentric character (model C). Each university was treated separately, collecting qualitative data to provide historical insight into the choir, to determine profiles of the relevant conductor(s) and choristers and to determine the management body’s views regarding the role of the choir(s) within the institution. Information on repertoire indicates preference for musical styles, favouring an African or Western perspective or showing measures of cultural adaptability. Data was collected from choristers, conductors, organisers and university representatives by questionnaires and personal interviews as well as historical data in the form of concert programmes of the selected university choirs. The research findings indicated that the three universities concerned chose to handle their cultural diversities in completely different ways, resulting in creating unique choral identities which are evident in aspects such as repertoire, choristers’ experience and the support from the institution.
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Hess, Jonathan Lucas. "Professional success for music majors : understanding the experiences of those who have achieved." Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/780.
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Vangerud, James Karl. "Significant Norwegian choral music since World War II: A study of the compositional styles of Knut Nystedt and Egil Hovland." Diss., The University of Arizona, 1990. http://hdl.handle.net/10150/185291.
Повний текст джерелаАнотація:
Since the end of World War II many Scandinavians have emerged as important choral music composers. This study focuses on two Norwegian composers, Knut Nystedt and Egil Hovland. Two works by Nystedt, "Thou O Lord," and "Praise to God," and one work by Hovland, Missa Misericordiae, are analyzed to determine the most important features of the compositional styles of Nystedt and Hovland. The analysis reveals that factors such as the Norwegian national romantic movement of the late nineteenth and early twentieth century, ancient music styles such as Gregorian chant, twentieth century techniques such as neoclassicism and dodecaphony, and recent reforms in Norwegian Church music have influenced the compositional style of both men. The evidence suggests that although Nystedt and Hovland have many similarities in compositional style both men have developed a highly individual musical language that is accessible yet challenging to the listener, conductor, and choir.
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Duignan, Matthew. "Computer mediated music production : a study of abstraction and activity : a thesis submitted to the Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy in Computer Science /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/590.
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Prantl, Daniel, and Christopher Wallbaum. "The analytical short film in teacher education: Report of an accompanying research study in university teaching." Georg Olms Verlag, 2018. https://slub.qucosa.de/id/qucosa%3A34631.
Повний текст джерелаАнотація:
This chapter presents the application of the method of the Analytical Short Film in teacher education seminars and the main results of an accompanying research. Central findings indicate that the usage of the method increases the students’ abilities of reasoning on a scientific basis and improves their levels of reflection (Roters 2012).
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Pang, Sam I. "The rhythm of everyday life : a study on the impact of illegal music downloading and the life of adult women in Macau." Thesis, University of Macau, 2006. http://umaclib3.umac.mo/record=b1874193.
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34
劉榕. "嵇康 聲無哀樂論 研究 = The study of Ji-Kang's On the Grieflessness and Joylessness of Music". Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636188.
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35
張佩珊. "萌發式音樂智能發展家長教育課程探討研究". Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636372.
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36
Fahlén, Daniel. "I samklang : En longitudinell fallstudie om att skapa förutsättningar för tvärvetenskaplig forskning inom musikterapi vid universitetet i Bergen." Thesis, Uppsala universitet, Institutionen för ABM, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266024.
Повний текст джерелаАнотація:
Interdisciplinarity is a common goal within specialized interdisciplinary organizations as well as within the academic world as a whole. Interdisciplinary research is connected with values such as a more market oriented approach, new ways of using theories and methods and a more cost efficient use of expensive research equipment. But few studies actually measure the development of organized interdisciplinary research over time. The purpose of this paper is to examine the potential effects of organizational changes in research institu- tions whose purpose is to promote interdisciplinary research collaborations.. Using a longitudinal case study this essay measures the attempts of a Norwegian music therapy research organisation to actively induce interdisciplinary research over a period of eight years. An important part of the study is also to try common quantitative operationalizations of different types of interdisciplinarity with in a small case study. Bibliometric methods are used to visualize relations between researchers. Important results include findings of increased interdisciplinary activity within the new organisation thus proving the possibility to create interdisciplinary conditions thru active organisational changes. The essay also show that operationalizations used in quantitative studies may need to be adapted to specific conditions in order to effectively measure interdisciplinary relations between researchers. As with all case studies the results of this essay needs to be tested and verified in further studies.
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宋琨. "粵語流行曲歌詞語言特點研究 = Study on the linguistic characteristics of Canton Pop lyrics". Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2151203.
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吳潔媛. "澳門初中音樂教科書之內容分析及衍生的問題". Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2098398.
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周游. "澳門教育政策下的中等專業音樂教育 : 以澳門演藝學院音樂學校為例". Thesis, University of Macau, 2010. http://umaclib3.umac.mo/record=b2178424.
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Ahn, Byungkyu. "Journey for Jazz." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4245/.
Повний текст джерелаАнотація:
This written thesis accompanies a 32-minute documentary video, Journey for Jazz, which explores four Korean students who major in jazz at the University of North Texas in Denton. Detailed accounts of the pre-production, production, and post-production of the video guide the reader to understand the challenging and rewarding process of making this documentary. Theoretical issues are also discussed, including Bill Nichols's typology of documentary modes as a useful tool for analysis of hybrid documentaries and conventions of the observational and interactive mode in Journey for Jazz, which is considered a hybrid of both modes. The film focuses mainly on the scholarly and artistic experiences that the four students undergo while studying jazz in the United States.
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勞婉莎. "粵語流行曲詞研究 = The study of lyric of Cantonese popular song". Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636194.
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陶然. "如何通過音樂課程的合理設計來提高學生學習的興趣". Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636402.
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Boschi, Alberto. "L'avvento del sonoro in europa : teoria e prassi del cinema negli anni della transazione ; Alberto Boschi ; università degli studi di Bologna, dipartimiento di musica et spettacolo, sezione cinema." Bologna : CLUEB, 1994. http://catalogue.bnf.fr/ark:/12148/cb37475830t.
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Lee, Hsin-Jung, and 李欣容. "A Study on University evaluation of the Department of Music – A Case Study on the Department of Music at National Taitung University." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/4x28yu.
Повний текст джерелаАнотація:
碩士國立臺東大學
教育學系(所)
97
The purpose of this research is to study the improvement progress that National Taitung University made in response to the evaluation of university departmental improvement results, conducted by Taiwan Ministry of Educations. Study subjects include faculty members and students at the Department of Music of National Taitung University, and the questionnaire and interview methods are research methods of choice for this study. A questionnaire, designed exclusively for this research, is the research Instrument for the quantitative analysis to measure improvement performance of the Department of Music of National Taitung University. A total of 156 questionnaires were sent out, 113 effective copies were collected, and the rate of collection is 72.9%. All data were analyzed using such statistical analyzing techniques as descriptive statistics, t-test, and One-way ANOVA. Interviews, as the means for qualitative analysis, were conducted with 12 students using a purposive sampling approach. The study results indicate： 1.Female respondents understand the evaluation criterion of “goal, feature, and self-improvement” better than their male counterparts. 2.Female respondents understand evaluation criteria of “goal, feature, and self-improvement”, “student learning and affairs”, and “research validity and professional performance” better than their male counterparts. 3.Clear perception discrepancies for evaluation criteria exist among respondents of different categories. 4.No perception discrepancy for evaluation criteria exists between student respondents of different genders. 5.Clear perception discrepancies for evaluation criteria of “curriculum design and faculty teaching style” and “alumni development” exist among students of different grades. 6.Respondents perceive that senior students understand evaluation criteria better than junior students because of their seniority and experiences at school. 7.Respondents perceive more practice rooms and soundproof facilities should be arranged for student practices. 8.Respondents are willing to participate in music performance activities and interact with the department via emails, telephones, publications, and seminars after they graduate. The above analyses can provide directions for the department to focus their improvement efforts on future departmental performance evaluation improvement initiatives.
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林良玉. "A Study on Learning Styles of University Music Majors." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/wq3a6q.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
音樂學系
97
This research aimed to investigate the distribution and the affecting factors of the learning styles of undergraduate music majors. Samples came from 9 universities with music departments in Taipei areas. Using random sampling, this research sampled 20 sophomores and 20 senior students from each university, 360 samples in total. This research utilized the Kolb’s theory as the reference to design the questionnaire. There were two purposes of this research: 1. to understand the distribution of students’ learning styles of undergraduate music majors; 2. to investigate the differences in students’ learning styles due to the difference of student backgrounds. From this study, it was found that “accommodating” is the dominant style from the point of view of gender, grade, major, school system and whether the students are from the musically talented program or not. The factors affecting the learning style can be summarized as follows: (1) Gender can affect the dimensions of abstract conceptualization and reflective observation, and it was more obvious for male than female. (2) Year is irrelevant to the learning style. (3) The different majors have no effect on the learning style except there is a difference among the dimension of concrete experience: students majoring in string instruments tended to be more diverging and accommodating than piano majors. (4) Students from the art school system tend to be more diverging and accommodating than the students from normal systems, and tend to be more diverging as compared with the students from comprehensive school systems. (5) Whether the students are educated from the musically talented program in their elementary and junior high school studies or not has no effect on their learning style. The students from senior high school musically talented program tend to be more diverging and accommodating. (6) Grades in their majors are correlated with the grades of concrete experience, reflective observation and active experimentation; therefore, the higher the grades in their majors, the more tendency to be diverging or accommodating. According to the results of this research, some suggestions are proposed for the teachers and students, and future studies.
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Jones, Garry Robert. "‘Music is my Oxygen’: an Exploration of Bioecological Influences on Pathways to University Music Study in Australia." Thesis, 2020. http://hdl.handle.net/2440/124957.
Повний текст джерелаАнотація:
Informed by the perspectives of the participants, this study explores the influences on students’ decision to study music at university in Australia, and the music pathway learning experiences that facilitate that choice. Students’ interest in music, and what that means to them in terms of types of motivation, bio/social systems or ecologies comprised of intra- and interpersonal influences, and self-efficacy are a focus. By exploring students’ perspectives of these systems, sub-systems and their related social interfaces, I identify the enabling influences or factors that have shaped their music development journeys prior to their university music study. Consideration of the relevant literature through a policy enactment theory lens (Ball, Maguire & Braun 2012), prompted a re-conceptualisation of the bioecological systems model (Bronfenbrenner and Ceci 1994) and later social interface model (Pettigrew, Segrott, Ray & Littlecott 2018) to produce a new research model. The model positions a hierarchy of enabling influences, as revealed by the investigation, within respondents’ individual music identity, music culture and human bioecological systems conceptual framework. Exploration of participants’ enabling influences on their interest in music and their music pathways experiences were investigated using quantitative, Likert-scale data, with participants’ enabling influences regarding their decision to study music at university investigated using qualitative, open-ended data sourced from semi-structured survey and interview questions. The findings of the study were conclusive in that the most enabling influences identified by the respondents’ perspectives regarding music pathway experiences, decision to study music at university and interest in music, were ‘school music experience,’ ‘identity/passion for/love of music’ and ‘school music learning’ respectively. These were conceptually situated in the music microculture. The next most enabling influences revealed for pathways/decision/interest were ‘private music tuition,’ ‘music teachers’ and ‘listening to music at home’ respectively, and situated in the music exoculture. The third most enabling influences revealed for pathways/decision/interest were ‘private music experiences,’ ‘ambition to improve as a musician’ and ‘private music tuition’ respectively, situated in the music macroculture. Based on the findings of this phenomenological, mixed-methods study, it is intended that the active bioecological agents involved in the students’ pre-university systems will benefit from the identification of enabling influences with regard to music educational curriculum, pedagogy, and structural and policy decision-making to support those pathways. The findings of the study have major implications regarding the provision of Music education in schools across Australia. Similarly, the findings reveal important implications for the implementation of STEM (Science, Technology, Engineering, and Mathematics) subjects in schools, or more cogently, the implementation of an authentically integrated Arts STEAM (Science, Technology, Engineering, Arts and Mathematics) as a more effective means of securing increased student engagement in learning, improved learning outcomes, and the realisation of broader national social and economic policy imperatives. The potential transferability of the model for use in other micro-, exo- and macro-cultural contexts within human bioecological systems, as discovered and defined in the study, was also explored and is recommended for consideration regarding further research.Thesis (Ph.D.) -- University of Adelaide, School of Education, 2020
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Chen, Mei-Yu, and 陳美妤. "A Study on Reflective Thinking of University Music Majorsin “Harmony”." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/7cn288.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
音樂學系
105
This paper discusses the characteristics of Harmony, and the degree and difference of reflective thinking of music major freshmen. This is a survey study which the questionnaire was mainly method and the interview was applied as assist. The research subjects were three teachers and 139 students from three different universities in music department. First of all, the researcher interviews the three teachers to take on the characteristic of Harmony. The next,“Questionnaire of reflective thinking of university music majors in Harmony” is taken to understand the degree and difference of student’s reflective thinking, receiving a total of 121 effective questionnaires, which rate of return is 87%. Results of this study are as following: 1. The teaching strategy of teachers of Harmony is oriented towards course objectives, applying different teaching methods. The main teaching material is Harmony and Voice Leading, using the catalogue of the book as the course outline. The learning concepts include basic music elements and the distribution of chords, emphasizing the training of pitch. 2. The degree of reflective thinking of freshmen in Harmony is higher in “understanding” and “reflection,” and lower in “habitual action” and “critical reflection.” 3. The degree of reflective thinking is nothing but positive correlation between the dimension of “ensemble learning” and the dimensions of “habitual action,” “understanding,” “reflection, and “critical reflection.” Furthermore, the high positive correlation is between “ensemble learning” and “reflection.” In addition, the learning experience of different music talented class makes a great difference in “understanding” in reflective thinking of the students. 4. The degree of reflective thinking is merely up to “habitual action” and “understanding.” The results of the interview which speculated from the researcher may be caused by the bad attitude and lack of learning motivation of students. 5. The teaching strategy of the teachers of Harmony and the practicing of learning concepts may make students enhance the degree of reflective thinking, but the more subtle influencing factors could be further studied. Finally, based on the research results of the study, suggestions are presented for teachers of Harmony, university music majors, and future research. Keywords: reflective thinking, Harmony, music major students
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CHEN, YO-CHIA, and 陳又嘉. "The Study of Music Preferences of University Music Major Students in Taipei Area in Taiwan." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/94083102399032897203.
Повний текст джерелаАнотація:
碩士臺北市立教育大學
音樂學系碩士班
98
Abstract The study is aimed at the freshman students of University music major in the Taipei Area as the research subject, to understand the effects on music preference with music instrument category majored, learning time of music instrument and background variables such as sex, and family, social & economic status. The study is adopted with Questionnaire investigation, with implementation on freshman students of music major in the nine major universities of Taipei Area. The implementation is taken place from the beginning of May to June of 2010. In order to understand the effects of music preference from instrument learning experiences for freshman students who are music major in the Taipei Area, there are two research tools compiled in the study: first, the researcher refers to relevant studies and documentaries both domestic and aboard, to put music styles into 5 categories, including Classical music, World music, Popular music, Folk Music and Jazz & Blue Music. To pick out several songs from each style music, then to record a music CD for the implementation of “music preference scale.” Second, with “music instrument learning experience” questionnaire. The researcher will do actual test in person in the related schools. The data obtained by way of scale will be analyzed through methods such as Descriptive Statistic, Standard Deviation, Independent- Samples T Test, and one-way ANOVA of independent samples. To sum up the research results, with conclusions as below: 1.For the degree of music preference on various kinds of music styles from University freshman students of music major in the Taipei Area, the sequential order of preference from high to lower degree is “Classical Music”, “Popular Music”, “Folk Music”, “Jazz & Blue Music” and “World music”. With the overall situations of music preference from students on “Classical Music” and “Jazz & Blue Music”, there are no reactions such as dislike, indicating a positive correlation on the students ‘reactions. 2.There are significant discrepancies on the music preference between different sex of University freshman students with music major in the Taipei Area, and the male music preferences on “World music” and “Folk Music” are higher than those of female; Also, there are significant discrepancies on music preference for students of music major with different family, social & economic status background, for which the occupations of both parents are related with student’s preference on “Popular Music”; moreover, the educational level of the mother is related with preference on “Popular Music”. 3. For the University students with music major who are specialized in percussion in Taipei Area, their preference on “Jazz & Blue music” are higher than those who are specialized in other music instruments; for students who are taking up vocal music, their preference on “Popular Music” are higher than those who are specialized in other music instruments; for students whose major instrument are Plucked String (Classical guitar), or as Applied Music group, and with traditional music instruments, their preference on “Folk Music” are higher than those who are specialized in other music instruments. 4. For the University freshman students with music major who are specialized in different music instruments in Taipei Area, there are no significant discrepancies between music instrument practice time and their preferences of various kinds of music. According to the conclusions, from three aspects- educational practices, related units in education and future researches, the researcher would like to make several recommendations as reference for the related educational workers and relevant studies in the future. Keywords: music preference, music instrument category major, music learning experience, social economic status, University music of the freshman students, Taipei Area
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McFadden, Jeffrey James. "Fretboard Harmony for University Study: Method and Historical Context." Thesis, 2010. http://hdl.handle.net/1807/24825.
Повний текст джерелаАнотація:
Fretboard harmony is essential in any thorough approach to the education of classical guitarists yet no effective method or materials for teaching a course in fretboard harmony is currently available. This dissertation aims to remedy this state of affairs by providing a method book intended for use in an upper-level undergraduate course.
The design of the method book is informed by the study of historical documents and by the examination of recent theory and keyboard harmony texts. In Chapter I, materials from the Renaissance, Baroque and Classical guitar traditions are examined to assess the historical conception and use of the guitar as an harmonic instrument. These include Matteis’ The False Consonances of Music, Sor’s Méthode pour la guitare and Horetzky’s Preludes, Cadences and Modulations. Having established some historical context, the dissertation proceeds in Chapter II to examine theory and keyboard harmony texts to determine if there is a consensus on the ordering of presentation of concepts. The type of exercises given and their deployment are also assessed.
The fretboard harmony method which emerges from these studies adapts this information to the particular exigencies and constraints of the guitar, resulting in a text which is intended for use in a full-year, upper-level undergraduate course. It comprises Chapter III and consists of a progressive arrangement of over 250 exercises along with written instruction. It begins with fretboard orientation and proceeds through single-note exercises, intervals, triads, chords, chord function and chord progression and modulation. The derivation of barre chords and “common” or
“familiar” chords is explicated through a systematic method of chord formulation. Melody harmonization and figured bass realization are employed as pedagogical tools and are objectives in themselves in learning to actualize harmony on the fretboard. The harmonic scope of the method is confined to the vocabulary of the common-practice period. The use of secondary dominants, Augmented and Neapolitan 6th chords are final goals.
Chapter IV is a conclusion of the study with a discussion of potential areas of future research.
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Yang, Jun-Yen, and 楊潤彥. "A Study on Music Learning Experiences of the University Students in the Department of Chinese Music." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/8vtbj5.
Повний текст джерелаАнотація:
碩士國立臺北藝術大學
藝術與人文教育研究所
105
Music learning has become a common experience. A professional music talent is a long time to cultivate. Family is the first important learning environment to children. The major teacher affects the students'' willingness to learn music, Students are all majoring in music, and for a long time in the same class, by music competition or performance to learn experience from each other, in the process, through music examinations, music competitions and music performances, to increase students'' confidence. The main purpose of this study is to explore the music learning experiences of the students in the Department of Chinese Music in Taipei. The research methods are questionnaires and interviews. The subjects of the study are Taipei National University of the Arts, National Taiwan University of Arts, and Chinese Culture University, first grade to fourth grade students, the number of questionnaires is 265 and the number of interviews is 6. And self-compiled questionnaire, the music learning experience is divided into the five dimensions: "Learning Environment", "Personal motivation", "Music Competition", "Music Performance" ,"Physical and Psychological Condition of Learner", and make a statistical analysis . The results of the study are as follows: (1) Music learning experiences, the highest degree of agreement is music performance, followed by personal motivations, music competitions, Physical and Psychological Condition of Learner, and learning environment. (2) Music learning experiences are different according to gender and grade. (3) the support and encouragement of parents, let me learn music is full of joy and enjoyment, my positive intentions on the music curriculum are influenced by the major teachers. (4) Peer behavior, so I want to get my music dreams and self-goal, Peer behavior, so I am concerned about the music scores. (5) Participation in music performance, so I have the opportunity to learn from other students, Participation in a music competition made my music performance better. (6) learning music, to help me develop on the personality, I was injured in music practice.