Thesis--Brigham Young University. / Vol. 2 contains the scores of Concerto in B flat, no. 6, by J.X. Lefèvre, Concerto in E flat, no. 2, by Francesco Rosetti, and Concerto in B flat, no. 10, by Michel Yost. Includes bibliographical references.

Thesis (Ph. D.)--Ohio State University, 2005. / Available online via OhioLINK's ETD Center; full text release delayed at author's request until 2006 Jun 1

Brian D. Hodges' thesis (D.M.A.)--University of North Carolina at Greensboro, 2007. / Title from PDF t.p. (viewed Oct. 22, 2007). Directed by John M. Fadial; submitted to the School of Music. Transcription includes cello part only. Includes bibliographical references (p. 34-37).

Thesis (D.M.A.)--University of Texas at Austin, 2004. / Vita. Includes bibliographical references.

Treatise (D.M.A.) Florida State University, 2006. / Advisor: Jeff Keesecker, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-26-07). Document formatted into pages; contains 67 pages. Includes biographical sketch. Includes bibliographical references.

Submitted by Luiza Kleinubing (luiza.kleinubing@udesc.br) on 2018-03-15T17:18:36Z No. of bitstreams: 1 JEASIR SILVA DO REGO.pdf: 1255709 bytes, checksum: 3620c976408578eb92ba44f6266dd2ce (MD5) / Made available in DSpace on 2018-03-15T17:18:36Z (GMT). No. of bitstreams: 1 JEASIR SILVA DO REGO.pdf: 1255709 bytes, checksum: 3620c976408578eb92ba44f6266dd2ce (MD5) Previous issue date: 2016-03-18 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This research aims to investigate the speech of the project participants musicians Teaching Music in Film / Palace, developed by the Santa Catarina Culture Foundation, about what they think of the Didactic Recital. The focus of the research, the qualitative study is to analyze, through the methodology of Discourse Analysis and Hermeneutics approach the texts they produced to answer several questions concerning the teaching characteristic of the events that took part, his views as agents of music education that context, what they say about the interaction, communication, preparation and musical pedagogical act. Data collection took place between July 2014 and May 2015, using virtual processes, such as virtual questionnaire Google Docs, and face, through interviews, observations, filming and field diaries. The methodology is based on authors like Minayo (1996), Orlandi (2009) and Ricoeur (1990). Other authors contribute their theoretical assumptions, as Saviani (2005), Frigotto (2009), Hill (2010), with which I could identify propositions of libertarian pedagogy Freire (2001) as a counterpoint to the mercantilist tendencies of education as a whole. The theoretical contributions of music education are supported by prospects of Small (1998) and Swanwick (2003), with which bring the concept of education by the encounter, when I discuss issues such as interactivity, communication and subjectivity in the learning process proposed in the didactic recitals, dialogue with the theories of Pignatari communication (1970), McLuhan (1975), social psychology and Guattari (2001, 2006, 2010) and Freire's pedagogy (2001). In the process of interpretation of the texts with the proposed dialogue with the authors mentioned, I realized that many speeches are clear and critics, being aligned with proposals that resist traditional upright, while other speeches are mirrored in traditionalist models with neoliberal foundations. I conclude that despite the conceptual differences on terms as interaction and communication in the educational context, expressed in the analyzed speeches, the nature of Recital Didactic activity is promising and has outstanding contributions to the formation not only of new music teachers, undergraduate students in music and musicians, but also students in the basic education system, bringing improvements and various aspects of the social context. / Esta pesquisa tem como objetivo investigar o discurso dos músicos participantes do projeto Música Didática no Cinema/Palácio, desenvolvido pela Fundação Catarinense de Cultura, sobre o que pensam do Recital Didático. O foco da pesquisa, do tipo qualitativa, é analisar, através da metodologia da Análise de Discurso e abordagem Hermenêutica os textos que eles produziram para responder várias perguntas que dizem respeito à característica didática dos eventos que participaram, suas concepções enquanto agentes da educação musical naquele contexto, o que dizem a respeito da interação, comunicação, preparação e do ato pedagógico musical. A coleta de dados ocorreu entre julho de 2014 e maio de 2015, utilizando processos virtuais, como o questionário virtual do Google Docs, e presenciais, através de entrevistas, observações, filmagens e diários de campo. A metodologia utilizada está fundamentada em autores como Minayo (1996), Orlandi (2009) e Ricouer (1990). Outros autores contribuem com seus pressupostos teóricos, como Saviani (2005), Frigotto (2009), Hill (2010), com os quais se pode identificar proposições da pedagogia libertária de Freire (2001) como contraponto às tendências mercantilistas da educação como um todo. Os aportes teóricos da educação musical se apóiam em perspectivas de Small (1998) e Swanwick (2003), com os quais apresenta-se a concepção de educação pelo encontro, quando se discute questões como interatividade, comunicação e subjetividade no processo de aprendizagem proposto nos recitais didáticos, dialogando com as teorias da comunicação Pignatari (1970), Mcluhan (1975), da psicologia social com Guattari (2001, 2006, 2010) e com a pedagogia de Freire (2001). No processo de interpretação dos textos com a proposta de diálogo com os autores citados, foi percebido que muitos discursos são claros e críticos, estando alinhados com propostas que resistem à verticalidade tradicional, enquanto outros discursos espelham-se em modelos tradicionalistas com fundamentos neoliberais. Conclue-se que apesar dos desvios conceituais sobre termos como interação e comunicação no contexto didático, expresso nos discursos analisados, a natureza da atividade Recital Didático é promissora e tem contribuições relevantes para a formação não só de novos professores de música, estudantes de licenciatura em música e músicos, mas também do estudante da rede de ensino básico, trazendo melhorias e aspectos diversos para o âmbito social.

No description available.

Concerto for Piano and Orchestra consists of three movements. The whole work follows a general character of Fast -- Slow -- Fast; but within each movement are sections with contrasting tempi. The performance time approximately eighteen minutes.

Print portion available via link; print score has not been digitized but is available for consultation in McGill University Library's Rare Books and Special Collections (ROAAR)

Thesis (Ph. D.--Music)--University of California, San Diego. / Vita. For MIDI acoustic piano, concertino group (flute (piccolo), clarinet, violin, violoncello, and percussion), live or pre-recorded background ensemble or chamber orchestra, and electronics; may also be performed in shortened "suite" form, employing the live pianist and concertino without any technology. Electronic component includes electroacoustic sounds and texts drawn from Christ's Sermon on the Mount, Schumann's Critique attributed to Eusebius, and Nietzsche's Genealogy of morals. Includes performance instructions and technical details: p. v-viii.