The purpose of the study was to investigate the effect of 10 minutes of daily exposure for 10 weeks to a Chinese Music Curriculum and its effect on generating positive cultural attitudes towards the Chinese people, improving tonal discrimination skills, singing accuracy of tonal patterns, and accuracy of singing Chinese lyrics for third-, fourth-, and fifth-grade students, compared to a comparison group not receiving the Chinese Music Curriculum. In an elementary school in Miami-Dade County, Florida, 6 third-, fourth-, and fifth-grade classes were chosen and randomly assigned to either an intervention or a comparison group. A Chinese Music Curriculum was developed for the intervention group and implemented by classroom teachers. Meanwhile, the comparison group received normal academic instruction and a weekly music class by a music specialist. Pre- and post-tests were administered to both the intervention and comparison groups: (1) Children's Attitudes toward Chinese (CATC), (2) Intermediate Measures of Music Audiation-Tonal (IMMA, Gordon, 1982), and (3) Tonal Pattern Performance Measure (TPPM). The Chinese Song Performance Measure (CSPM) was administered to the intervention group only in order to measure students' abilities for accurately singing the Chinese lyrics of a simple Chinese song, "Little Rat." Data were subjected to a mixed Multivariate Analysis of Variance (MANOVA) statistical analysis, item analysis, and Pearson Product-Moment correlation. The results demonstrated that the CATC survey was a reliable and valid measure to assess children's attitudes toward Chinese people. The overall effect of the Chinese Music Curriculum was significant in combination of the three outcome measures: CATC, IMMA, and TPPM. The follow-up individual examination revealed that children's attitudes toward Chinese people and tonal pattern singing accuracy were significantly improved, but tonal discrimination skills did not improve. Grade was found to influence children's singing accuracy of tonal patterns with fifth graders outperforming the third and fourth graders. All participants in the intervention group were able to sing a Chinese song with over 70% accuracy of the Chinese lyrics.

Plusieurs monographies récentes se sont intéressées à la traduction des littératures africaines europhones (Gyasi 2006, Bandia 2008, Batchelor 2009), faisant valoir le concept d’autotraduction (au sens métaphorique) et insistant sur le fait que ces écritures sont porteuses d’une oralité ou de marques linguistiques issues des langues parlées par les écrivains. Toutefois, la question de l’hybridité comme point de jonction entre littératures orales et écrites a encore rarement été examinée sous un angle poétique et c’est précisément dans cet esprit que cette recherche a été entreprise. Dans un premier temps, à partir des ouvrages originaux de six auteurs, trois d’expression littéraire anglaise (Farah, Hove et Armah) et trois d’expression littéraire française (Waberi, Adiaffi et Djebar), je montre en quoi ces écritures méritent d’être qualifiées de poétiques avant de mettre cette esthétique en relation avec le patrimoine littéraire de chacun des auteurs du corpus; ponctuellement, d’autres affiliations littéraires sont mises en évidence. Cette poétique est examinée dans sa dimension mélopoéique (Pound 1954), c’est-à-dire sous l’angle des structures audibles, appelées aussi figures de style jouant sur la forme phonétique des mots (Klein-Lataud 2001). Dans un second temps, j’examine comment cette poétique sonore a été recréée, tant de manière qualitative que quantitative, dans les traductions de Bardolph, de Richard et de J. et R. Mane (pour les auteurs d’expression anglaise) et de Garane, de Katiyo et de Blair (pour les auteurs d’expression française). Les enjeux associés à la réactivation des structures poétiques sonores sont mis en évidence dans le dernier chapitre qui propose un tour d’horizon des modalités de « consommation » de l’objet littéraire et qui s’achève sur les questions soulevées par la progression du livre audio. La méthodologie élaborée dans ce cadre s’inspire essentiellement de Berman (1995) et de Henry (2003). La conceptualisation de la poétique sonore, telle que mise en œuvre dans le contexte particulier de ces littératures, fait appel aux paradigmes de valence traductive (Folkart 2007) et de traduction métonymique (Tymoczko 1999). Par ailleurs, cette recherche s’appuie sur la récente thèse de doctorat de Fraser (2007) consacrée à la théorisation du sonore en traduction. / Recent publications explore Europhone African literatures as translation and in translation (Gyasi 2006, Bandia 2008, Batchelor 2009) insisting that these texts are better understood as a form of self-translation through oral subtexts, showing evidence of linguistic interplay by drawing on the writers’ native language(s). Yet hybridity as an encounter between oral and written literatures has seldom been explored in its poetic dimension. This lack of attention shapes the blueprint of this dissertation. Drawing on six original texts from African writers publishing in English (Farah, Hove and Armah) or in French (Waberi, Adiaffi and Djebar), I show in which extent these writings deserve to be labelled as poetic and how they are informed by the authors’ native literary background; occasionally I discuss other literary affiliations. In this specific context, I explore poetry in its melopoeic actualization (Pound 1954) as it relates to aural poetic devices (i.e. relying on their audible features). I then analyze, qualitatively and quantitatively, how this audible poetry has been reactivated by the translators: Bardolph, Richard, J. and R. Mane (translating Farah, Hove and Armah, respectively); Garane, Katiyo, Blair (translating Waberi, Adiaffi and Djebar, respectively). The last chapter suggests how reactivating sonorous poetic devices in translation relates to different literary modalities, especially audiobooks, as they represent a rapidly growing trend. The methodology draws on Antoine Berman’s translation project (1995) and Jacqueline Henry’s Traduire les jeux de mots (2003). Approaching the translation of aural/audible poetry in the specific context of these texts was facilitated by calling upon paradigms such as translational valency (Folkart 2007) and metonymy (Tymoczko 1999). Last but not least, this dissertation benefited from Fraser’s recent doctoral thesis (2007) dedicated to theorizing sound translation.

xiii, 221 p. : ill., music, forms. A print copy of this title is available through the UO Libraries under the call number: MUSIC MT35 .M87 2006 / The main purpose of the study was to examine the effects of learning songs by ear in multiple keys on skills in playing by ear and sight-reading. Secondary purposes of the study were to explore the effects of instruction on student attitudes, and to consider differential effects due to music aptitude. Students were brass and woodwind musicians ( N =28) in grades 7--8, placed in one of two instructional groups according to music aptitude, instrument, and music background. Time for instruction was three 20-minute lessons per week for four weeks. Students in the experimental group learned songs by ear in the keys of Bb, Db, and G concert, while students in the contact-control group practiced technical exercises in those same keys. Before and after instruction, students performed a well-known melody by ear in the keys of Bb, Db, and G concert, as well as a short etude in each of the three keys. Two adjudicators listened to recorded performances and evaluated pitch accuracy. To assess the effects of instruction on performance, repeated-measures ANOVAs considered the variables of group, time, and key. The experimental group improved significantly in playing by ear in the keys of Db and G concert, p < .001, but not in Bb. The contact-control group did not improve significantly in playing by ear in any of the keys. Both groups improved significantly in sight-reading in all three keys, p < .001. Analyses of qualitative and quantitative data from a researcher-authored attitude survey indicated that students in the experimental group perceived significant improvement in the new keys of Db and G, while students in the contact-control group did not perceive improvement. There were no statistically significant effects of music aptitude on performance achievement or attitude. Whether this was because the sample sizes were too small for the detection of effects, or whether there were no significant effects, is not known. The results of the study suggest that learning songs by ear may benefit student musicians. / Committee in Charge: Dr. Harry E. Price, Chair; Dr. Michael D. Bullis; Dr. Phyllis M. Paul; Dr. Steve Vacchi

Dans le chaos de la vie contemporaine, il faut de plus en plus apprendre à écouter ; écouter les gens, la nature, mais aussi les lieux, les espaces, leurs parois. Les murs n’ont pas que des oreilles : ils parlent. Ils parlent d’un récit in-ouïe de l’humanité, d’espaces vibrants et chuchotant. Dans le fracas de nos souvenances, il faut tendre l’oreille pour prendre conscience de notre univers, de nos espaces sonores. Ma pratique artistique a pour centre d’intérêt le son et la perception de l’espace sonore. Je crée des parcours, des méditations, des situations, des enregistrements de terrain, des témoignages et des récits qui sondent la ténuité du silence et la résonance des zones d’écoute. A l’écoute du bruit de fond et de l’écho qui remplissent les lieux, je me déplace pour tenter d’exposer la survivance des espaces sonores. Au cœur d’un monde sonore, plusieurs artistes contemporains engagent des dynamiques de renvoi de l’écoute et du corps. La survivance prend forme dans des traces, des résidus et des fossiles sonores, qui sont autant de témoignages de nos traversées que de paysages résistant a leur propre disparition. Pour entendre ces résidus sonores, pour voir la survivance des espaces sonores, je fais appel à des participants qui découvrent leur conscience auditive et performent le mouvement d’un corps-sonar, un mouvement en résonance entre le corps, l’espace et la collecte d’informations provenant du passé. Le corps‐sonar, qui entre en contact avec l’invisible, touche l’écho des espaces, révélant par le fait même notre imaginaire touché. Cette thèse raconte mon parcours dans l’univers du son, la traversée de ma pratique personnelle, de mes œuvres comme de mes récits. Elle donne également le rôle principal aux œuvres décrites et étudiées sous l’angle de la conscience auditive et de la survivance des espaces sonores. Elle traverse les créations de plusieurs artistes, de John Cage à Brandon Labelle, en passant par Pauline Oliveros et Alvin Lucier. Elle parcourt aussi la pensée de nombre de théoriciens, dont Didier Anzieu, Raymond Murray Schafer, Georges Didi-Huberman et Michel Serres. Écoutons-les, pour voir. / In the chaos of contemporary life, it is more and more necessary to learn how to listen: listening to people, to nature, but also to places, to spaces, to their walls (parois). Walls do not only have ears; they speak. They speak of an unheard (in-ouïe) about humanity, about vibrating and whispering spaces. In the clash of our remembering, it is necessary to stretch the ear in order to become conscious of our universe, or our aural spaces. My art practice focuses on sound and aural spatial awareness. I create sound journeys, meditations, situations, field recordings, testimonies and stories that explore the silence’s tenuousness and the resonance of listening areas. While listening to the background noise and the echo that fill in the places, I am moving in an attempt to expose the Surviving Aural Spaces. At the heart of a sonic world, various contemporary artists are engaged in dynamics of referencing (renvoi) to the listening and to the body. The surviving takes form in sound traces, sound residues and sound fossils, that all witness our journeys as well as landscapes resisting to their own disappearance. In order to hearing those sound residues, to seeing the surviving of aural spaces, I am making use of participants whom discover their auditory awareness and perform a sonar-body movement, a movement that resonates between the body, the space and the information collected from the past. The sonar-body contacts the invisible, touches the echo of spaces, thus revealing our touched imaginary. The present thesis relates my journey in the universe of sound, the crossing of my personal practice, of my works as well as my narratives. It also gives the leading role to the works, described and studied from the angle of auditory awareness and the surviving of aural spaces. It goes through the creation of various artists, from John Cage to Brandon Labelle, via Pauline Oliveros and Alvin Lucier. It also browses the thinking of many theorists, including Didier Anzieu, Raymond Murray Schafer, Georges Didi-Huberman and Michel Serres. Let’s listen to them, to see.

A substantial body of research points to the benefits of fitting hearing instruments that provides extended high frequency amplification. Most published research were done on adults or in controlled laboratory settings. It is therefore necessary for peadiatric audiologists to critically assess the effects that this extended high frequency amplification has on the individual child fitted with hearing instruments. A quantitative research method was selected to explore the possible correlations between extended high frequency amplification and the influence this extended high frequency amplification has on speech recognition and functional performance in children with mild to severe sensory neural hearing loss. A quasiexperimental design was selected. This design accommodated a one-group (single-system) pre-test versus post-test design. Baseline assessments were done and all participants were subjected to pre- and post-intervention assessments. Six participants were fitted with hearing instruments which provided extended high frequency amplification. A baseline assessment was done with current hearing instruments after which participants were assessed with the hearing instruments with extended high frequency amplification. Aided audiological assessments were done without the extended high frequencies after which participants were evaluated with the added high frequencies. Speech recognition testing and functional performance questionnaires were used to compare the outcomes obtained with and without the extended high frequency amplification. A t-test was used for hypothesis testing to determine if extended range amplification increased speech recognition abilities and functional performance, and if these increases were statistically significant. Results were varied where some participants performed better and some performed worse with the added extended range amplification during speech recognition testing and functional performances observed at home. These varied results were statistically insignificant. However, statistically significant evidence was obtained to indicate that extended high frequency amplification increased the functional performance observed at school. The study concluded that the paediatric audiologist should know the effect fitting hearing instruments capable of extended high frequency amplification have on speech recognition abilities and functional performances. Fitting hearing instruments with extended high frequency amplification should however be done with caution because not all children benefited from extended bandwidth amplification. This underlines the importance of following a strict evidence-based approach that incorporates objective and subjective assessment approaches. This will provide the paediatric audiologist with real world evidence of the success of the amplification strategy that is followed. / Dissertation (MCommunication Pathology)--University of Pretoria, 2012. / Speech-Language Pathology and Audiology / Unrestricted

No description available.

The mediatization of society has gradually led to an increasingly prominent presence of music in our daily lives, a process which Tobias Pontara and Ulrik Volgsten refer to as musicalization. One media platform that has experienced rapid growth in recent years is TikTok, which, with its one billion users, has become a hub for music discovery and distribution. TikTok's interface fosters a participatory culture, where users actively engage in musical challenges and memes. In this paper, I examine musical memes as a phenomenon and explore their influence on society's musicalization process. By examining TikTok's user interface and its self-promotion strategies, it becomes apparent that the platform aims to establish itself as a contemporary music medium. The app's features actively encourage users to utilize music and dances as a tool for storytelling and community-building. TikTok's rise in the media landscape has led to a mediatization process where other media adapt to TikTok's logic, and due to music being such a central part of the platform, it contributes to an increased presence of music in our day-to-day lives.

No description available.

This study investigates the possibility of applying Hatten’s theory of musical gesture to a formal system of musical analysis. Using historical antecedents and established musicological practice as a guide, a range of musical parameters in a motive length span of music are incorporated into a single gesture. This gesture forms the basic semantic unit upon which an analytical tableau structure is built, and a syntax is developed to allow derivations of new gestures; a large scale structure displaying fractal-like self-similarity is then proposed. The completed system is applied to the analysis of the ‘Adagio’ of Mozart’s Flute Quartet K.285 to test whether it can consistently be implemented and whether it produces falsifiable results while maintaining predictive power. It is found that these requirements are indeed met and that a set of inference rules can be derived suggesting that the proposed system has ample scope for further development. / Art History, Visual Arts & Musicology / M. Mus.

本研究旨在探討不同甄選情境中（視聽組、聽覺組、文字組），「人格印象」、「能力評估」、「喜好程度」及「應對表現」對「口試成績」的影響。 本研究以實驗法進行，採3「甄選情境」× 5「考生」二因子混合設計。其中「甄選情境」分為「視聽組」、「聽覺組」及「文字組」三組，「考生」則分為「甲生」、「乙生」、「丙生」、「丁生」及「戊生」五位。每組均由17位口試委員對5位考生進行評分。由於三組之口試委員不同，各組之評分不會彼此影響，因此「甄選情境」為獨立樣本，即受試者間設計；五位考生均會接受17位口試委員之評分，因此「考生」乃相依樣本，即受試者內設計。 本研究以碩博士班研究生為研究對象，請他們在觀看（聆聽或閱讀）口試錄影帶（謄本）後，以大學推甄口試委員的立場對影片中人物所形成之「人格印象」、「能力評估」、「喜好程度」及「應對表現」予以評分，並評定其「口試成績」。本研究採隨機分配，將研究對象分為「視聽組」、「聽覺組」及「文字組」三組。每組17位口試委員，共計51位。在觀看（聆聽或閱讀）口試錄影帶（謄本）前，受試者有5分鐘時間閱覽考生之書面資料，然後在觀看（聆聽或閱讀）考生之口試錄影帶（謄本）後，填寫「人格印象量表」及「口試評量表」。 本研究以3「甄選情境」× 5「考生」混合設計二因子變異數分析檢定不同的甄選情境在「人格印象」（他人親和取向、個人愉悅取向）、「能力評估」（專業能力、問題處理能力、人際關係處理能力、行政能力、外語能力）、「喜好程度」、「應對表現」及「口試成績」上之差異情形，結果發現處在不同甄選情境中的口試委員在這些變項上（外語能力除外）均可獲得頗為一致的判斷。研究者認為造成此結果的可能原因為：（1）參與推甄口試的考生無論是在課業或是人格特質、能力上均有相當程度的相似性；（2）大學推甄所使用的書面審查資料較職場口試中所使用的豐富，足以提供考生之人格、能力相關訊息；（3）實驗過程中口試委員閱讀書面審查資料的時間和口試時間的間隔太短，考生書面資料造成的初始效應過於強烈。 在不同甄選情境（視聽組、聽覺組、文字組）中，「人格印象」、「能力評估」、「喜好程度」、「應對表現」對「口試成績」之影響方面，研究結果發現：（1）「口試成績」與「應對表現」有高度相關；（2）「個人愉悅取向」與「視聽組」及「文字組」口試成績之間僅具低度相關，但卻與「聽覺組」口試成績具高度相關；（3）「專業能力」與「視聽組」及「文字組」口試成績之間僅具低度相關，但卻與「聽覺組」口試成績之間具高度相關；（4）「問題解決能力」與「視聽組」及「聽覺組」口試成績之間僅具低度相關，但卻與「文字組」口試成績之間具高度相關；（6）「喜好程度」與「視聽組」及「文字組」口試成績僅具低度相關，但與「聽覺組」口試成績則具高度相關；（7）「口試成績」與「他人親和取向」、「人際關係能力」、「行政能力」、「外語能力」僅有低度相關。 研究者認為本研究之所以發現「人格印象」與「視聽組」和「文字組」口試成績之間並沒有很高的相關，其可能的原因如下：（1）有些人格特質是無法在短時間內被覺察到的；（2）有些人格特質是比較容易用聽的方式覺察到的；（3）人格特質的判斷通常是以潛意識的方式在進行的；（4）人格特質是可以經由大學四年的教育慢慢成形的；（5）人格特質對口試的影響主要是在對應試者未來工作表現的預測上，而大學校系並不需預測考生未來工作表現。 綜合本研究發現，在大學推甄口試方面，考生的肢體語言、外表、聲音等對口試委員的影響並不是很重要。此外，人格特質在大學推甄口試上的影響亦非常輕微，因此研究認為大學學系應重新衡量是否應繼續保有口試？抑或改以其他方式進行學生的甄選，以達到既有效又節省的取才方式。 / The purpose of the study is to identify which of the following variables: personality impression, capability judgment, likeability, and interview performance, is actually affecting the outcome of the university enrollment interview with different settings. Subjects were 51 post-graduate students, randomly assigned to three groups – “Audio-visual Group”, “Audio Group”, and “Script Group”. Those in video group watched the video of the university enrollment interview, while those in audio group listened to the audio of the same interview, and those in script group read the transcript of the said interview. Vitae of the applicants were given to the subjects for reference prior to the stimulus. Each subject reviewed 5 applicants’ video (audio/transcript), and filled in the Personality Impression Form and Interview Assessment Form. 2-way ANOVA is used to examine the effect of different settings (audio-visual, audio, or transcript) on personality impression, capability judgment, likeability, and interview content, and it is found that all variable can be judged in coincidence among subjects within different settings. Pearson correlation is used to examine the effect of personality impression, capability judgment, likeability, and interview performance on the decision-making of interview in different settings, and it is found that interview result is (1) highly correlated to interview performance in all settings; (2) highly correlated to personality impression, specialty, and likeability in “audio group”, however, it is loosely correlated in other groups; (3) highly correlated to problem solving skills in “audio group”, however, it is loosely correlated in other groups; (4) loosely correlated to inter-personal skills, administrative skills and foreign language in all settings.