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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
11

Thematic reductions : material, developments and categories

Maestri, Eric January 2014 (has links)
In my music I try to control the chaos inside and outside me. I try to write in the freest way and to realize it in the most consequential manner. Hence, I try to fnd a balance between the material and its implicit existential possibilities, focusing on the clarity of its elements and the variety of its possible complex temporal evolutions. In this sense, my pieces could be reduced, in most cases, to a set of contrasting original elements that are embedded in the thematic character of the structure of the material. However the theme is at the same time the starting and the fnal point of the composition, a journey in the discovery of the poetical and formal proprieties of the musical idea. Te theme is the frst and the last element. I reduce the musical material to a limited number of elements that are developed following a limited number of more abstract categories that allow a control of musical complexity. Tis double bond through an opposition with the material reveals my abstract compositional categories. Tis makes the process of composition a process of dialectic personal awareness of my subjective limits refected through the manipulation of the musical material. In this sense, my music results from an intimate and subjective confrontation with the realization of the musical idea. For this reason the notion of the thematic idea is central. It resumes the pure temporal character of the musical idea and refers to the semantic element of linear profles that I craft in my compositions. Te following analysis highlights the dialectics between the material and the abstract categories that derive from it. In the conclusion I explain my compositional position from the perspective offered by this analysis.
12

An exploration of factors which have an impact on the vocal performance and vocal effectiveness of newly qualified teachers/lecturers

Martin, Stephanie Parke January 2003 (has links)
The aim of this project was to explore whether voice care and development, prior to qualification, could mitigate potential vocal attrition in newly qualified teachers/lecturers within their first year of teaching. A specific focus of the research was to see if any causative relationship could be seen to exist between vocal change, specifically change in vocal quality, and the exigencies of the teaching role. Vocal quality in this instance is defined as the way in which individual voices demonstrate discrete features of pitch, resonance, degree of breathiness and clarity of the note. The sum of these features is perceived as voice/vocal quality. The study sought to gain a deeper knowledge of the vocal demands of the teaching role with a particular focus on the experiences of newly qualified teachers and lecturers. It was hoped, that information gained as a result of the study, would add to the current canon of knowledge regarding the vocal demands on teachers as a feature of their professional role. As a result of the study a number of important elements were identified, some of which go beyond the original focus of the research but arise from data gathered doing it. A number of recommendations are made which, it is hoped, will inform future working practice and increase vocal health within the teaching profession.
13

A system for the analysis of musical data

Pullinger, Stuart January 2010 (has links)
The role of music analysis is to enlighten our understanding of a piece of music. The role of musical performance analysis is to help us understand how a performer interprets a piece of music. The current work provides a tool which combines music analysis with performance analysis. By combining music and performance analysis in one system new questions can be asked of a piece of music: how is the structure of a piece reflected in the performance and how can the performance enlighten our understanding of the piece's structure? The current work describes a unified database which can store and present musical score alongside associated performance data and musical analysis. Using a general purpose representation language, Performance Mark-up Language (PML), aspects of performance are recorded and analysed. Data thus acquired from one project is made available to others. Presentation involves high-quality scores suitably annotated with the requested information. Such output is easily and directly accessible to musicians, performance scientists and analysts. We define a set of data structures and operators which can operate on musical pitch and musical time, and use them to form the basis of a query language for a musical database. The database can store musical information (score, gestural data, etc.). Querying the database results in annotations of the musical score. The database is capable of storing musical score information and performance data and cross-referencing them. It is equipped with the necessary primitives to execute music-analytical queries, and highlight notes identified from the score and display performance data alongside the score.
14

L'objet-exposition "Sonolithe" de Louis Dandrel (1991) : un outil pédagogique patrimonial d'éducation à l'écoute en lien avec l'écologie sonore / The exhibition "Sonolithe" by Louis Dandrel (1991) : a pedagogical heritage in listening education connected with acoustic ecology

Habellion, Dominique 28 November 2015 (has links)
Louis Dandrel, né en 1939, est musicien, compositeur et designer sonore. En 1991, il conçoit pour le grand public une « exposition de sons » intitulée « Sonolithe ». Son objectif est de faire évoluer les représentations et les rapports que l’individu peut avoir avec son environnement sonore. Après avoir fait traduire en français le célèbre ouvrage de R. Murray Schafer Le paysage sonore (1979), Louis Dandrel préface la seconde édition de 2010. Dans de nombreuses interviews et conférences il réaffirme l’influence décisive de Murray Schafer sur son travail. Partant de ce double constat qui devient une double hypothèse, à la fois pédagogique et musicologique, cette recherche tente d’abord de déterminer dans quelle mesure l’objet-exposition « Sonolithe » peut s’intégrer au cadre théorique de l’ « écologie sonore » tel qu’il est défini par R. Murray Schafer et ses successeurs. Dans un second temps, à partir de l’orientation pédagogique souhaitée par Louis Dandrel, cette étude examine l’objet-exposition comme un dispositif didactique possible. / Louis Dandrel was born in 1939. He is a musician, a composer and a sound designer. In 1991, he imagined a « sound exhibition » for the general public entitled « Sonolithe » in order to make people’s perceptions of the sound environment evolve. After being one actor of the translation of R. Murray Schafer’s famous book The soundscape (1979), Louis Dandrel wrote the preface of the second edition in 2010. In many interviews and conferences he reaffirms the decisive influence of Murray Schafer on his work. This thesis is based upon a double statement which becomes a double hypothesis, both musicological and pedagogical, so as to try and determine to what extent the exhibition-object « Sonolithe » can be integrated into an « acoustic ecology » theoretical framework, as defined by R. Murray Schafer and his followers. Secondly, this thesis tries to examine the exhibition-object as part of a possible didactical system, building on Louis Dandrel’s pedagogical positioning.
15

The effects of music on socio-emotional and musical development in 6-8 year old children

Zapata Restrepo, Gloria Patricia January 2013 (has links)
This thesis describes a research project undertaken in a school located in a deprive neighbourhood of Bogota, the capital of Colombia. The project investigated the effects of musical experiences on social and musical development by means of a mixed methods approach involving children, parents, and teachers. The project comprises three studies: an experimental intervention study; and interviews study and a psycho-musicological study. The experimental intervention study was carried out with two groups of 52 children between six to eight years old; the experimental group followed a music programme of a singing workshop in which children made musical improvisations. The interviews study carried out interviews with the children, parent and teacher conducted during the intervention programme. The psycho-musicological case study analyse the musical improvisations of six of the children. Data analysis includes the statistical analysis of the children‘s tests (Harter´s Perceived Competence Scale for Children, 1999)and Self-Efficacy in Music, Hargreaves et al., 2002), qualitative analysis of parents‘, children‘s and teachers‘ interviews and a psycho-musicological analysis of children‘s musical improvisations (Ockelford, 2007) and its relation to children‘s cognitive and socio-emotional development. The principal findings are that the cognitive component of the self-identity of children who undertook the music programme increased. This appears to be related to the children‘s cultural environment, their parents‘ attitudes, and the idiosyncratic ways in which they use music to express themselves. Music appears to help them to be resilient, to manage the challenges they face, and to adapt to changes in the environment.
16

Musicians at the margins : a case study of the role of instrumental music teachers in a university music department

Spencer, Steven John January 2015 (has links)
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.
17

In beta : an action research journey of developing music communities as an app creator

Ko, Andrew January 2014 (has links)
Music is an essential part of people’s every day lives, accompanying them as they go about their daily routines, and it can be experienced in almost any context now; which allows us to capture, categorize and reconstruct the activities and memories that shape our personal, social and cultural lives. In this thesis, the area of concern that I explore is the creation of an online community based on people’s experiences with music. Because of the personal nature of the topic and the tendency for the information to change over time, the methodology I chose was action research, specifically Checkland and Holwell’s (1998) FMA methodology. Using this approach, I investigate the different kinds of technology that can be used to build the foundations of the community and which factors are most salient to facilitate member growth. I also examine the effects that user-generated content has on the participation within an online community and the technological features that aid in facilitating this. I discovered that trust is a vital part of an online community because it fosters cooperation between members through visible pro-social behaviour, and that a combination of ease of use, usefulness and the size of the community could influence the participation and activity of users in generating content. I also found that the development cycle for Internet software never ends, thus permanently in beta, as there will always be improvements to the community based on user feedback. I analyzed the data by comparing key metrics such as membership and user-generated content growth for each community to see if the learning and reflections from previous cycles helped improve community participation in the current cycle. The results I obtained and method I used in the thesis demonstrated my contribution to the body of knowledge in using action research theory, specifically the FMA methodology, to investigate, learn and develop an online community as an app creator. I argue that action research can help guide academic-based startups in much the same way as other startup frameworks and this point is one of the focuses for future research on this topic.
18

Geometric representation and algebraic formalization of musical structures / Représentations géométriques et formalisations algébriques de structures musicales

Cannas, Sonia 27 November 2018 (has links)
Cette thèse présente des généralisations u groupe néo-riemannien PLR, que agit sur l'ensemble des 24 triades majeures et mineures. Le travail commence par une reconstruction de l'histoire de Tonnetz, un graphe associé aux trois transformations qui génèrent le groupe PLR. La thèse présente deux généralisations du groupe PLR pour les accords de septième. Le premier agit sur le tournage des septièmes de dominantes, mineure, semi-diminuée, majeure et diminuée, le second comprend également la septième mineure majeur, majeure augmenté, l'augmentée et la septième dedominante bémol. Nous avons également classé les transformations les plus parcimonieuses parmi les 4 triades (majeure, mineure, augmentée et diminuée) et avons étudié le groupe généré par celles-ci. Enfin, nous avons introduit une approche générale permettant de définir des opérations parcimonieuses entre les accords de septième et de triade, mais aussi les opérations déjà connues entre triades et celles entre septièmes. / This thesis presents a generalizations of the neo-Riemannian PLR-group, that acts on the set of 24 major and minor triads. The work begins with a reconstruction on the history of the Tonnetz, a graph associated with the three transformations that generate the PLR-group. The thesis presents two generalizations of the PLR-group for seventh chords. The first one acts on the set of dominant, minor, semi-diminished, major and diminished sevenths, the second one also includes minor major, augmented major, augmented, dominant seventh flat five. We considered the most parsimonious operations exchanging two types of sevenths, moving a single note by a semitone or a whole tone. We also classified the most parsimonious transformations among the 4 types of triads (major, minor,augmented and diminished) and studied the group generated by them. Finally, we have introduced a general approach to define parsimonious operations between sevenths and triads, but also the operations already known between triads and those between sevenths.
19

Original compositions, recorded performances, and published writings submitted for the degree of Doctor of Music / by John Charles Bodman Rae. / Piano & bells [sound recording] / Jede Irdische Venus (1982) for pianoforte solo (with original ending) ; Donaxis Quartet (1987) for oboe, clarinet, bassoon and piano [sound recording] / Olivier Messiaen: Quatuor pour la fin du temps [sound recording] / Donaxis Quartet (1987) for oboe, clarinet, bassoon and piano [sound recording] / Pitch organisation in the music of Witold Lutoslawski since 1979

Rae, Charles Bodman, 1955- January 2003 (has links)
"October 2003." / Includes bibliographical references / 592 leaves. : / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Chiefly in English; some Polish text in pt. B. / Comprises three types of material: composition (pt. A); performance (pt. C); and, musicology (pt. B.), and is intended to reflect the author's professional activities as composer, pianist and writer. The various writings and texts all relate to the life and music of Witold Lutoslawski (1993-2003). Earlier publications have been excluded because they are referred to (and reflected in) the author's thesis: Pitch organisation in the music of Witold Lutoslawski since 1979 (Thesis (Ph.D.)--University of Leeds, 1992) / Thesis (D.Mus.)--University of Adelaide, Elder School of Music, 2004?
20

L'éducation musicale au Sénégal : enracinement et ouverture / Music education in senegal : rootedness and openness (of mind)

Ndiaye, Ibrahima 04 September 2015 (has links)
L’éducation musicale académique n’est officialisée au Sénégal qu’à partir de 1976, dans l’intention de démocratiser l’accès à la culture à l’école. Le but est de former un citoyen sénégalais enraciné dans sa propre culture et ouvert vers le reste du monde. Mais la concrétisation de cette noble ambition a presque échoué en raison d’une « ouverture » qui a pris le pas sur « l’enracinement ». Car la formation des professeurs d’éducation musicale est calquée sur les contenus de cours légués par les français et basés essentiellement sur la musique classique européenne inconnue des sénégalais. Ce qui crée une tension par rapport à la culture musicale populaire des élèves. Dans les écoles, rien n’est prévu pour l’enseignement de cette discipline, au niveau des moyens et matériels didactiques. Les professeurs d’éducation musicale sont confrontés aussi à un problème de rapport au savoir académique dans une société de tradition orale très islamisée avec un système de castes, d’où des préjugés culturels et religieux à propos de la musique. Dans ce travail, nous étudions l’éducation musicale sénégalaise sous ses aspects socioculturels, politiques, politiques, scolaires et économiques. / Academic music education is formalized in Senegal until 1976, with the intention of democratizing access to culture in the school. The goal is to train a Senegal citizen rooted in their own culture and open to the rest of the world. But the realization of this noble ambition almost failed due to an ‘’openness’’ that has overtaken the ‘’rooting’’. Because the pattern of musical education training for teachers is imitating the courses contents left by the French and based mainly on European classical music unknown by the Senegalese. What creates a voltage compared to the popular musical culture of students. In schools, nothing is provided for teaching this subject as for as the resources and educational tools are concerned. Music education teachers are also facing a problem report to the academic knowledge in a society of highly Islamized oral tradition with a caste system, where cultural and religious prejudices about the music. In this work, we study the Senegalese musical education in its socio-cultural, political, academic and economic aspects.

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