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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

Displaced Spaces, Shocks, Negations: A Musical and Gestural Analysis of Stefan Wolpe's Studies for Piano, Part I (1946-48) and its Implications for Performance

Henning, Ina 07 August 2013 (has links)
The core project of this dissertation is a musical and gestural analysis of Studies, Part I: Displaced Spaces, Shocks, Negations, A New Sort of Relationship in Space, Pattern, Tempo, Diversity of Actions, Interactions and Intensities (1946-48) by post-tonal composer Stefan Wolpe (1902-72). The analytical methods consist of Set Class analysis (Allen Forte), the Effort Shape analysis of gesture (Rudolf von Laban), and the Time and Tone analysis of accordion performance (Joseph Macerollo). Wolpe played a leading role in the emergence of abstract expressionism among the painters, poets, dancers and composers of New York in the mid to late 1940s.Wolpe’s oeuvre reveals a unique way of composing in the post-tonal era. Chapter 1 provides the historical and stylistic contextualization of this particular study Displaced Spaces. Chapter 2 is concerned with the musical analysis, presented as pitch class and shape analysis. By nature, Wolpe’s pieces are best described as very physical, which explains the rationalization for the application of the gestural analysis in chapter 3. The Effort Shape graphic notation method by Rudolf von Laban (1879-1958) widely used in dance is applied to the musical gestures in Wolpe’s score. Wolpe’s overall title for the series of studies, Music for Any Instrument (1944-49), leaves the choice of instrument to the performer; as these studies require a polyphonic instrument, the classical accordion seems an appropriate choice. Laban’s principles as applied to Wolpe are compared to Macerollo’s Time and Tone analysis to implement gesture on one specific instrument. Battle Piece, a composition for piano solo which he began in 1943 is central to a change in Wolpe’s development: After finishing the first three movements of the piece, Wolpe explored new ideas in the study Displaced Spaces. The degree of coherence between the later parts of Battle Piece and Displaced Spaces is presented in chapter 4 focussing on new techniques that Wolpe was able to formulate through this “detour”. Chapter 5 as a conclusion brings together results from the set theory and the gestural analysis of this particular work in order to bridge the gap between the disciplines of music theory, performance and dance.
12

Resistance in compositional practice three mediatory works /

Tacke, Daniel Arthur. Tacke, Daniel Arthur. Tacke, Daniel Arthur. Tacke, Daniel Arthur. January 2008 (has links)
Thesis (M.A.)--University of California, San Diego, 2008. / Accompanying disc is DVD-ROM, and contains sound files for recordings of 2nd and 3rd compositions. Title from first page of PDF file (viewed June 25, 2008). Available via ProQuest Digital Dissertations. Reproduced from holograph.
13

A aprendizagem do acompanhamento harmônico no acordeom : o percurso de três crianças

Reis, Jonas Tarcísio January 2012 (has links)
A presente pesquisa teve como objetivo geral analisar e compreender como as crianças aprendem a executar no acordeom o acompanhamento harmônico das músicas estudadas. O desenho metodológico adotado apoiou-se em princípios do Método Clínico piagetiano. A coleta de dados foi realizada com três crianças com idade entre 7,5 e 8,5 anos, no contexto de aulas individuais de acordeom realizadas em um espaço formal de educação musical, de abril a outubro de 2011, na cidade de Porto Alegre – RS. O registro dos dados foi feito em diários de campo e filmagens integrais das aulas de acordeom, nas quais ocorreram entrevistas e observações clínicas decorrentes da adaptação do método, a fim de considerar as singularidades do contexto e dinâmica das aulas. A partir dos dados coletados, fez-se a composição de protocolos para cada sujeito pesquisado, descrevendo os momentos onde a problemática de pesquisa se explicitava. A base teórica da investigação advém da Epistemologia Genética de Jean Piaget. Ela possibilitou a compreensão do percurso da aprendizagem dos sujeitos durante as aulas. Os resultados evidenciaram que, ao longo das aulas de acordeom, foi acontecendo a tomada de consciência das ações, principalmente sobre como os sujeitos faziam para executar as mudanças na execução do acompanhamento. A tomada de consciência do porquê da necessidade dessas mudanças não se deu com base em explicações que considerassem coerentemente todos os elementos harmônicos envolvidos nas músicas estudadas. Constataram-se, também, níveis de tomada de consciência quanto à distinção entre consonâncias e dissonâncias e, nessa conquista, o papel da aprendizagem foi expressivo. A principal contribuição desta pesquisa está em explicitar a trajetória dos sujeitos, mostrando de que modo eles percebem, compreendem e explicam a dimensão harmônica implicada na aprendizagem do acordeom. A pesquisa poderá contribuir para a área da Música e Educação articulando aportes da Epistemologia Genética e da Educação Musical na compreensão do desenvolvimento musical da criança. / This research aimed to understand and analyze general as children learn to perform the rhythmic-harmonic accompaniment on the accordion of the music studied. The design methodology adopted was based on principles of Piaget's Clinical Method. Data collection was performed with three children aged between 7.5 and 8.5 years old in the context of individual classes of an accordion held in a formal space of music education, from April to October 2011, in Porto Alegre - RS. The data recording was done in the field diaries and filming the whole accordion lessons, which occurred in the interviews and clinical observations arising from adaptation of the method in order to consider the singularities of the context and dynamics of classes. From the data collected the composition of protocol was done for each subject researched describing the moment where the problematic of research is made explicit. The theoretical base of research comes from Jean Piajet’s genetic epistemology, and enabled the understanding the journey of learning of the subjects during the lessons. The results showed that over the lessons of accordion awareness of actions were happening, especially as the subjects did to perform changes in the implementation of followup. The awareness about why the need for such changes was not given on the basis of explanations that consistently consider all harmonic date elements involved in music examined. It was found, too, levels of awareness about the distinction between consonance and dissonance in this achievement and the role of learning was significant. The main contribution of this research is to explain the trajectory of the subjects, showing how they perceive, understand and explain the harmonic scale involved in learning the accordion. The research contributes to the area of Music Education and articulating contributions of Genetic Epistemology and Music Education in understanding the child's musical development.
14

A aprendizagem do acompanhamento harmônico no acordeom : o percurso de três crianças

Reis, Jonas Tarcísio January 2012 (has links)
A presente pesquisa teve como objetivo geral analisar e compreender como as crianças aprendem a executar no acordeom o acompanhamento harmônico das músicas estudadas. O desenho metodológico adotado apoiou-se em princípios do Método Clínico piagetiano. A coleta de dados foi realizada com três crianças com idade entre 7,5 e 8,5 anos, no contexto de aulas individuais de acordeom realizadas em um espaço formal de educação musical, de abril a outubro de 2011, na cidade de Porto Alegre – RS. O registro dos dados foi feito em diários de campo e filmagens integrais das aulas de acordeom, nas quais ocorreram entrevistas e observações clínicas decorrentes da adaptação do método, a fim de considerar as singularidades do contexto e dinâmica das aulas. A partir dos dados coletados, fez-se a composição de protocolos para cada sujeito pesquisado, descrevendo os momentos onde a problemática de pesquisa se explicitava. A base teórica da investigação advém da Epistemologia Genética de Jean Piaget. Ela possibilitou a compreensão do percurso da aprendizagem dos sujeitos durante as aulas. Os resultados evidenciaram que, ao longo das aulas de acordeom, foi acontecendo a tomada de consciência das ações, principalmente sobre como os sujeitos faziam para executar as mudanças na execução do acompanhamento. A tomada de consciência do porquê da necessidade dessas mudanças não se deu com base em explicações que considerassem coerentemente todos os elementos harmônicos envolvidos nas músicas estudadas. Constataram-se, também, níveis de tomada de consciência quanto à distinção entre consonâncias e dissonâncias e, nessa conquista, o papel da aprendizagem foi expressivo. A principal contribuição desta pesquisa está em explicitar a trajetória dos sujeitos, mostrando de que modo eles percebem, compreendem e explicam a dimensão harmônica implicada na aprendizagem do acordeom. A pesquisa poderá contribuir para a área da Música e Educação articulando aportes da Epistemologia Genética e da Educação Musical na compreensão do desenvolvimento musical da criança. / This research aimed to understand and analyze general as children learn to perform the rhythmic-harmonic accompaniment on the accordion of the music studied. The design methodology adopted was based on principles of Piaget's Clinical Method. Data collection was performed with three children aged between 7.5 and 8.5 years old in the context of individual classes of an accordion held in a formal space of music education, from April to October 2011, in Porto Alegre - RS. The data recording was done in the field diaries and filming the whole accordion lessons, which occurred in the interviews and clinical observations arising from adaptation of the method in order to consider the singularities of the context and dynamics of classes. From the data collected the composition of protocol was done for each subject researched describing the moment where the problematic of research is made explicit. The theoretical base of research comes from Jean Piajet’s genetic epistemology, and enabled the understanding the journey of learning of the subjects during the lessons. The results showed that over the lessons of accordion awareness of actions were happening, especially as the subjects did to perform changes in the implementation of followup. The awareness about why the need for such changes was not given on the basis of explanations that consistently consider all harmonic date elements involved in music examined. It was found, too, levels of awareness about the distinction between consonance and dissonance in this achievement and the role of learning was significant. The main contribution of this research is to explain the trajectory of the subjects, showing how they perceive, understand and explain the harmonic scale involved in learning the accordion. The research contributes to the area of Music Education and articulating contributions of Genetic Epistemology and Music Education in understanding the child's musical development.
15

A aprendizagem do acompanhamento harmônico no acordeom : o percurso de três crianças

Reis, Jonas Tarcísio January 2012 (has links)
A presente pesquisa teve como objetivo geral analisar e compreender como as crianças aprendem a executar no acordeom o acompanhamento harmônico das músicas estudadas. O desenho metodológico adotado apoiou-se em princípios do Método Clínico piagetiano. A coleta de dados foi realizada com três crianças com idade entre 7,5 e 8,5 anos, no contexto de aulas individuais de acordeom realizadas em um espaço formal de educação musical, de abril a outubro de 2011, na cidade de Porto Alegre – RS. O registro dos dados foi feito em diários de campo e filmagens integrais das aulas de acordeom, nas quais ocorreram entrevistas e observações clínicas decorrentes da adaptação do método, a fim de considerar as singularidades do contexto e dinâmica das aulas. A partir dos dados coletados, fez-se a composição de protocolos para cada sujeito pesquisado, descrevendo os momentos onde a problemática de pesquisa se explicitava. A base teórica da investigação advém da Epistemologia Genética de Jean Piaget. Ela possibilitou a compreensão do percurso da aprendizagem dos sujeitos durante as aulas. Os resultados evidenciaram que, ao longo das aulas de acordeom, foi acontecendo a tomada de consciência das ações, principalmente sobre como os sujeitos faziam para executar as mudanças na execução do acompanhamento. A tomada de consciência do porquê da necessidade dessas mudanças não se deu com base em explicações que considerassem coerentemente todos os elementos harmônicos envolvidos nas músicas estudadas. Constataram-se, também, níveis de tomada de consciência quanto à distinção entre consonâncias e dissonâncias e, nessa conquista, o papel da aprendizagem foi expressivo. A principal contribuição desta pesquisa está em explicitar a trajetória dos sujeitos, mostrando de que modo eles percebem, compreendem e explicam a dimensão harmônica implicada na aprendizagem do acordeom. A pesquisa poderá contribuir para a área da Música e Educação articulando aportes da Epistemologia Genética e da Educação Musical na compreensão do desenvolvimento musical da criança. / This research aimed to understand and analyze general as children learn to perform the rhythmic-harmonic accompaniment on the accordion of the music studied. The design methodology adopted was based on principles of Piaget's Clinical Method. Data collection was performed with three children aged between 7.5 and 8.5 years old in the context of individual classes of an accordion held in a formal space of music education, from April to October 2011, in Porto Alegre - RS. The data recording was done in the field diaries and filming the whole accordion lessons, which occurred in the interviews and clinical observations arising from adaptation of the method in order to consider the singularities of the context and dynamics of classes. From the data collected the composition of protocol was done for each subject researched describing the moment where the problematic of research is made explicit. The theoretical base of research comes from Jean Piajet’s genetic epistemology, and enabled the understanding the journey of learning of the subjects during the lessons. The results showed that over the lessons of accordion awareness of actions were happening, especially as the subjects did to perform changes in the implementation of followup. The awareness about why the need for such changes was not given on the basis of explanations that consistently consider all harmonic date elements involved in music examined. It was found, too, levels of awareness about the distinction between consonance and dissonance in this achievement and the role of learning was significant. The main contribution of this research is to explain the trajectory of the subjects, showing how they perceive, understand and explain the harmonic scale involved in learning the accordion. The research contributes to the area of Music Education and articulating contributions of Genetic Epistemology and Music Education in understanding the child's musical development.
16

TRAJETÓRIAS MUSICAIS DE ACORDEONISTAS: UM ESTUDO NA LICENCIATURA EM MÚSICA (UERGS) / MUSICAL PATHS OF ACCORDIONISTS: A STUDY ON MUSIC DEGREE (UERGS)

Pereira, Julio Cesar Pires 16 August 2016 (has links)
This master thesis was developed within the Education and Arts Research Line (LR4) from the Postgraduate Program on Education at Federal University of Santa Maria (UFSM) and is part of the research group FAPEM Formation, Action and Research in Musical Education of UFSM. The research proposes as its main theme the study of musical trajectories of accordionists of the degree in Music (UERGS). The general objective is to investigate the musical formation trajectories from these accordionists. The specific objectives are organized around to know their musical experiences and understand how they impacted their choices for training in the course of degree in music and understand possible relationships between being accordionist and the choice of honors degree. The literature reviews that guided the research studies the teacher training and academic-professional training (GARCIA, 1999; FERRY, 1991, 2001; NÓVOA, 1992, 1995; MIZUKAMY, 2002; DINIZ PEREIRA, 2008; VAILLANT; MARCELO, 2012). In order to refer to the training of music teachers, the research was based on studies of Del Ben (2000), Bellochio and Garbosa (2010), Louro (2004), Mateiro and Souza (2009) and in Machado (2009), Puglia (2010), Weiss and Louro (2010) to discuss the accordion education. Methodologically, the research was developed from a study of narratives grounded in oral history (MEIHY, 2005; FREITAS, 2006; ALBERTI, 2003), having as a production procedure the narrative interview (JOVCHELOVITCH and BAUER, 2008; MARCONI and LAKATOS, 2013), and respectively, as an analytical tool the Discursive Textual Analysis (MORAES e GALIAZZI, 2006). Considering that the formative paths of research subjects are under construction, the understanding of the presented narratives and the produced knowledge expanded methods and ways of understanding the potential of the accordion in the training of music teachers process, highlighting in this context the Music Degree course of UERGS. / A dissertação foi desenvolvida no Programa de Pós-Graduação em Educação (UFSM), Linha de Pesquisa Educação e Artes LP4 e vincula-se ao grupo de estudo e pesquisa FAPEM - Formação, Ação e Pesquisa em Educação Musical. A pesquisa propõe como tema principal o estudo de trajetórias musicais de acordeonistas da licenciatura em Música (UERGS). O objetivo geral constitui-se em investigar as trajetórias de formação musical destes acordeonistas. Os objetivos específicos estão organizados em torno de conhecer suas vivências musicais e compreender como elas impactaram suas escolhas pela formação no curso de licenciatura em Música e entender possíveis relações entre ser acordeonista e a escolha pela licenciatura. As revisões de literatura que orientaram a pesquisa tematizam a formação de professores e a formação acadêmico-profissional (GARCIA, 1999; FERRY, 1991, 2001; NÓVOA, 1992, 1995; MIZUKAMY, 2002, DINIZ PEREIRA, 2008; VAILLANT; MARCELO, 2012). Para referir à formação de professores de música, a pesquisa apoiou-se nos estudos de Del Ben (2000), Bellochio e Garbosa (2010), Louro (2004), Mateiro e Souza (2009) e em Machado (2009), Puglia (2010), Weiss e Louro (2010) para discutir sobre o ensino de acordeom. Metodologicamente, a pesquisa foi desenvolvida a partir de um estudo com narrativas embasado na história oral (MEIHY, 2005; FREITAS, 2006; ALBERTI, 2003), tendo como procedimento de produção de dados a entrevista narrativa (JOVCHELOVITCH; BAUER, 2008; MARCONI; LAKATOS, 2013), e como instrumento de análise a Análise Textual Discursiva (MORAES; GALIAZZI, 2006). Considerando que as trajetórias formativas dos sujeitos da pesquisa encontram-se em construção, a compreensão das narrativas trazidas e dos conhecimentos produzidos ampliaram os modos e formas de entender o potencial do acordeom no processo formativo de professores de música destacando-se, neste contexto, o Curso de Música - Licenciatura da UERGS.
17

A formação de professores de acordeom do Rio Grande do Sul: narrativas (auto)biográficas / The training of accordion teachers in Rio Grande do Sul: (auto)biographical narratives

Weiss, Douglas Rodrigo Bonfante 25 August 2015 (has links)
Fundação de Amparo a Pesquisa no Estado do Rio Grande do Sul / In this study, I investigate training path ways for accordion teachers from different cities in Rio Grande do Sul, through the analysis of their life stories, told through narratives, having as main goal the unraveling of their training experiences. The participants attended higher education institutes in Music, and hold either a BA or a teaching degree, however, not in the accordion specialty, and some of them did not finish their higher education. Therefore, the teachers interviewed did not have a specific degree to teach accordion, a context from which the following questions emerges: how do the processes of learning to teach occurred for the accordion teachers participating in this research? The teacher training in question emerges from the perspective of the self-training proposedby Josso (2010). Considering that I am an accordion teacher, there is, in this research, an on going dialogue between the story of my life and those of the teachers who shared their stories with me, this being the nuclear center of this study, that meets the biographical and autobiographical studies with the oretical support from Nóvoa (1992) and Josso (2004, 2010). From a qualitative approach, the narratives were chosen though the methodology of Oral History, using semistructured interview. From the analysis of the data, it is possible to notice that there are trends in training for accordion teachers in Rio Grande do Sul. The cultural meanings, the transmission of a feeling of belonging, and the feeling of identity emerged as critical factors in the professional choice of the interviewees. This study intended to engage in dialog with the meanings that music brought throughout the professional development of the teachers in the study, beginning in childhood, and permeating a variety of prejudices and training difficulties that could finally lead to professionalization. Different learning contexts emerged in the search for the participants formation. This variety, which, in its turn, is expressed as unpleasant shocks, is positive in the training of teachers. Even though the focus of the research had been in the experiential training of accordion teachers, it was possible to analyze some of their strategies and teaching methodologies, such as the importance give to the musical code, to the teaching materials and to the use of technologies. / Neste trabalho, procuro investigar caminhos formativos de professores de acordeom de diferentes cidades do Rio Grande do Sul, por meio da análise de suas histórias de vida, contadas através de narrativas, tendo como objetivo geral compreender suas experiências formadoras. Os colaboradores frequentaram instituições de ensino superior em Música, sendo eles bacharéis ou licenciados, porém, não na especificidade acordeom , e alguns não completaram o curso superior. Assim sendo, os professores entrevistados não tiveram habilitação à especificidade para lecionar o instrumento acordeom, contexto do qual emerge a questão: como se dão os processos de formação para a docência dos professores de acordeom colaboradores desta pesquisa? A formação para a docência em questão emerge da perspectiva da autoformação proposta por Josso (2010). Considerando que atuo como professor de acordeom, existe, nesta pesquisa, um diálogo permanente entre a minha história de vida e a dos professores que compartilharam comigo as suas histórias, sendo este o núcleo central do trabalho, que vai ao encontro de estudos (auto)biográficos com aporte teórico em Nóvoa (1992) e Josso (2004, 2010). Partindo de uma abordagem qualitativa, as narrativas foram colhidas pela metodologia de História Oral, fazendo uso da entrevista semiestruturada. A partir da análise de dados, é perceptível que existem tendências formativas para os professores de acordeom do Rio Grande do Sul. Os significados culturais, a transmissão do sentimento de pertença e o sentimento de identidade apareceram como fatores decisivos na escolha profissional dos entrevistados. Busco dialogar com significados que a música tomou ao longo da formação musical dos professores em questão, tendo o início na infância e perpassando diversos preconceitos e dificuldades formativas para, então, levar à profissionalização. Diferentes contextos de aprendizagem apareceram nas buscas formativas dos professores colaboradores. Esta variedade, que se expressa, por vezes, como choques desagradáveis, é positiva na formação dos professores. Ainda que o foco principal da pesquisa tenha sido a formação experiencial dos professores de acordeom, foi possível analisar algumas de suas estratégias e metodologias de ensino, como a importância dada ao código musical, os materiais didáticos e o uso das tecnologias.
18

Masculinity as a popular theme in the development of Basotho accordion music

Khotso, P. 11 1900 (has links)
Text in English and some in Sesotho / This thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large. / Linguistics and Modern Languages / D. Phil. (Language, Linguistics and Literature)
19

Suity pro sólový akordeon autorů ruské skladatelské školy zvláštnosti problematiky jejich interpretace na základních uměleckých školách a konzervatořích. / Suites for accordion solo by the authors of the Russian composition school - specific problems of their interpretation at music schools and conservatoires.

PACLÍKOVÁ, Hana January 2014 (has links)
This thesis deals with suite for accordion solo by authors of the Russian composition school and specific problems associated with their interpretation at music schools and conservatories. The main goal is to draw attention to the Czech, Slovak and Russian accordion music scene and to analyse chosen accordion suites of three Russian composers. Furthermore, suitability to involve these suites into the repertoires of pupils at elementary music schools and of conservatories students is considered. The general aim is to introduce accordion not only as a folk instrument, but also as a concert one.
20

Sólová akordeonová literatura českých autorů vzniklá po roce 1960 a její pedagogické vyústění / Literature of the solo accordion by Czech authors post 1960 and its pedagogical outcome

Dlouhý, Radek January 2017 (has links)
This dissertation work is concerned with Czech composers who composed for the solo accordion. These composers cover a range of individual generations of composition from the earliest born through to the youngest. There is a brief introduction to each composer along with their compositions for solo accordion including the characteristics of each individual composition and the circumstances of their creation. The dissertation work then presents the chronological development of Czech compositions for the solo accordion from the very beginning up to the present. It is also focuses on the teaching of the accordion within the context of the Czech education system. A very important part of this work is the evaluation of a survey conducted in the form of a questionnaire addressing teachers of the accordion at Czech conservatoires which was a probe into the current situation regarding the teaching of this instrument and the utilization of compositions for the accordion for teaching. This work should profit pedagogy of the accordion in the Czech Republic and should assist in its orientation with regards to the original literature for the accordion.

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