No description available.

Thesis (Ph. D.--Music)--University of California, San Diego, 2000. / Vita.

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.

The purpose of this survey was to analyze the course of study in instrumental music prescribed by the Texas State Department for the high schools of the state and to determine whether or not a coordinated and well-rounded program of education in instrumental music is being offered in the schools of Texas. It was hoped, furthermore, that, by comparing this program with others elsewhere, this analysis might show whether or not Texas is following any general trend in instrumental music education.

The popularity of the Spanish language, as a modern language, has been increasing the last years in Sweden causing the number of study groups in schools to rise. This event led us to question, what motivated the students to choose this language? Perhaps it's because it is considered to be easy to learn? Or that the students are under pressure from their friends that have already chosen it? Why not choose Spanish because the students have it as their mother tongue. For this reason we have decided to realize this comparative dissertation in the three educational levels using the quantitative method by taking a poll of almost 200 students to collect the necessary information. In each poll the students have answered 30 questions or assumptions, grouped according to the type of motivation and student profile. As a result of our work we can mention that we only managed to confirm the first of the three assumptions since the second and the third one couldn’t be substantiated.       Keywords: Motivation, intrinsic instrumental motivation, integrative instrumental motivation, extrinsic instrumental motivation, student profile.   Palabras clave: Motivación, motivación intrínseca instrumental, motivación intrínseca integradora, motivación extrínseca, perfil del alumno.

published_or_final_version / abstract / Music / Doctoral / Doctor of Philosophy

No description available.

Mobiles is a composition for an ensemble consisting of 12 instruments. The piece, in one movement, incorporates intuition, chance, and twelve tone techniques and reflects the relationship between motion and rest or tension and release. The structure is modeled according to principles of growth and decay, starting off slowly, building, and then dying away. Much of the material is inspired by mental images invoked from modern theories concerning chaos. Mobiles' character stems from the principal use of two motives, the chaos motif and the echo motif. Primarily, the chaos motif is representative of a state of motion while the echo motif represents a state of rest. Mobile architecture is usually characteristic of symmetry, balance, and proportion, but because of uncertainty in a natural environment, this proportion often falls short of a perfect symmetrical balance as in the case of a crystal or a fractal design. It is this kind of architecture that Mobiles portrays in its form and developmental process.

by Lee, Lo Ping Arthur. / Thesis (M.Mus.)--Chinese University of Hong Kong, 1997. / Chapter (1) --- "Two Bagatelles for Violin, Cello and Piano (1995)" / Chapter (2) --- "Three Scenes for Flute, Oboe, Clarinet in B-flat, Horn in F, Bassoon and Piano (1996)" / Chapter (I) --- "Introspection (for Flute, Oboe, Clarinet in B-flat, Horn in F and Bassoon)" / Chapter (II) --- Monologue (for Flute Solo) / Chapter (III) --- "A Mental Walk (for Flute, Oboe, Clarinet in B-flat, Bassoon and Piano)" / Chapter (3) --- """ Dies irae"" for Soprano solo, SATB chorus and Orchestra (1997)"

This study provides new insights concerning the development of professional identity in instrumental teachers working in a range of professional contexts in the UK. The analysis shows the extent to which musicians are embedded in the culture of instrumental music education, suggesting that aspects of the field, including high levels of autonomy, are more closely related to professional identity than notions of hierarchy and status. The understandings of instrumental teachers’ lives and identities revealed in this research could be used to inform and enhance existing approaches to careers in music and contribute to career preparation in undergraduate music students. Using an explanatory sequential research design to combine data from a national survey of instrumental teachers with findings from individual case study interviews and one focus group, the research prioritises the lived experience of participants in generating understanding of professional lives and identities in this context. An analysis using Bourdieu’s notions of habitus, field and capital examines the ways in which individuals negotiate the field of instrumental music education, revealing a complex and nuanced approach to professional identity developed through practical experience in this context. Instrumental teaching in the UK is characterised by a lack of regulation and curriculum, where individuals are able to teach with no training or qualification (Swanwick 1994, Woodford 2002). The literature suggests conflict in instrumental teacher identity where individuals prefer to identify as musicians or performers rather than teachers, attributing these choices to the lower professional status of instrumental teaching in the hierarchy of professional roles in music (Mills 2004b, Roberts 2007). This research however suggests that expressions of identity in this context relate to specific meanings associated with the role and identity of professional musician for individuals involved in portfolio careers involving teaching and highlights the need to revise existing notions of the professional musician to acknowledge contemporary careers in music.