Die Dissertation behandelt aus unterrichtspraktischen Fragestellungen heraus Gestalt und Anwendungsmöglichkeiten aktuell nutzbarer Lehrwerke des Orgelspiels. Aus der Perspektive einer Lehrtätigkeit des Autors an der Musikhochschule erwächst eine Reflexion zur Funktionalität und Wirksamkeit von Orgellehrwerken nach gegenwärtig zugrunde liegenden Kriterien. Es wird der Frage nachgegangen, inwieweit sich didaktische Zielsetzungen früherer und heutiger Zeit unterscheiden und Thesen zur Verwendung elementarer Orgelschulen aufgestellt. Ausgehend von den Entwicklungen bei der Anwendung von Orgellehrwerken im Verlauf der Musikgeschichte wird sichtbar, dass sich die berufspraktischen Anforderungen innerhalb des Aufgabenbereiches eines Organisten am Beginn des 21. Jahrhunderts spürbar verändert haben. Es wird die Bedeutung interpretatorischer, methodischer, musikwissenschaftlicher und psychologischer Aspekte für den heutigen Verlauf des Unterrichtsprozesses beleuchtet. Zudem wird dargestellt, inwieweit speziell der Orgelunterricht einen Sonderfall im Spannungsfeld gegenwärtiger Instrumentalpädagogik bildet.

Prior research studies point to a correlational relationship between music instruction and academic achievement studies, but varying results and confounding factors prevent causality. The purpose of this quasi-experimental study is to test Vygotsky's sociocultural cognitive theory that playing a musical instrument is significantly associated with academic achievement in reading for 1st graders who attend 1 of 2 schools in Alaska. Using Analysis of Covariance, this study investigates the relationship between instrumental music and academic achievement on measures of academic progress (MAP) reading scores of 1st graders (n = 76) who received at least 90 minutes per week of string instruction for 2 consecutive years at a Title I school in comparison with those who attended another Title I school without the string program. Although the results of this study did not show a relationship between instrumental music and academic achievement on MAP reading scores of 1st graders, this study has implications for positive social change. This study contributes to this new field of music for social change and underscores the need from public school administrators and music educators for more research at the local and national level on the benefits of music education as a contributor to academic achievement and student success.

Våren 2020 stängdes Sveriges gymnasieskolor som en konsekvens av Covid-19 pandemin, och undervisningen förlades till att bedrivas på distans. Denna hastiga övergång innebar drastiska skillnader i förändrade fysiska ramfaktorer för lärare och elever. Distansundervisning är som företeelse inget nytt men är ett relativt outforskat ämne inom undervisning av elgitarr. Utifrån ett sociokulturellt perspektiv undersöktes hur elgitarrlärare vid gymnasieskolan upplevde att distansundervisningens förändrade ramfaktorer påverkade undervisningen och elevernas lärande och motivation. Genom kvalitativa intervjuer visade resultatet att flertalet elevers lärande och motivation upplevdes påverkas negativt som följd av bristen på social interaktion. Undervisningen hämmades till viss del av tekniska begränsningar där minskade möjligheter till samspel beskrevs som den största nackdelen. Dock gav distansundervisningen och användandet av digitala verktyg upphov till kreativitet hos vissa elever. Studiens resultat leder till en diskussion om hur lärande som en social aktivitet påverkas av förändrade ramfaktorer, och hur distansundervisning i framtiden kan utvecklas genom forskning och nya teknologiska landvinningar. / In the spring of 2020, Sweden's upper secondary schools were closed as a consequence of the Covid-19 pandemic, and teaching was resituated to distance education. This transition meant drastic differences in changing physical framework factors for teachers and students. Distance education is not a new phenomenon but lacks research regarding teaching of electric guitar. Through a socio-cultural perspective it was investigated how teachers at upper secondary schools, experienced teaching and the students learning and motivation related to the change of framework factors. Results of qualitative interviews showed that the majority of students learning and motivation was perceived to be negatively affected due to lack of social interaction. Teaching was partially hampered by technical limitations, where reduced opportunities for musical interplay was described as the greatest problem. However, distance learning and the use of digital tools gave rise to creativity in some students. The discussion addresses how learning as a social activity is affected by changing framework factors, and how distance education could develop through future research and technological advances.

No description available.

No description available.

No description available.

Alien-colour : for woodwind quintet -- Two bagatelles for the solo piano -- Duodecat : for large ensemble -- Moonlight : for solo voice and percussion -- Activation : for orchestra. / Yang Jin Fong. / "June 2004." / Thesis (D.Mus.)--Chinese University of Hong Kong, 2004. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Mode of access: World Wide Web. / Abstracts in English and Chinese.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire expose les résultats de mon projet de recherche, qui consistait à élaborer et tester ma démarche compositionnelle s’appliquant aux musiques de pratique électroacoustique, instrumentale et mixte. Mon intention était d’uniformiser et de systématiser mon approche s’inscrivant essentiellement dans l’esthétique des romantiques. J’y combine musique à programme, partitions graphiques et autres techniques modernes de composition. Le premier chapitre est consacré à la description détaillée et commentée des trois étapes qui constituent mon travail de création : le programme, l’analyse ainsi que la structure et la forme. Pour expérimenter cette approche, j’ai composé trois pièces : Le chat noir, pièce mixte pour gamelan, bandes et traitements en temps réel et inspirée d’une nouvelle d’Edgar Allan Poe, La nébuleuse de la tour, pièce électroacoustique basée sur une partition graphique exécutée par une guitare et un trombone et, comme troisième pièce, Le livre de Thot, pour trio à cordes et piano, présentée en quatre mouvements inspirés d’autant de cartes du tarot. Les trois pièces sont décrites et analysées en fonction de ma démarche aux chapitres deux, trois et quatre, respectivement. / This thesis presents the results of my research project which consisted in elaborating and testing my compositional approach in three musical forms, namely, electroacoustic, instrumental, and mix. My aim was to systematize my approach—which belongs essentially with romantic aesthetics—and to make it uniform by combining program music, graphic partitions, and other modern compositional techniques. The first chapter is devoted to the detailed and commented description of the three stages of my creation process : program, analysis, as well as form and structure. To test my approach, I have composed three pieces, 1- Le chat noir, a mixed piece for gamelan, recording and real-time processing inspired by a novel by Edgar Allan Poes, 2- La nébuleuse de la tour, an electroacoustic piece based on a graphic partition and performed on guitar and trombone, and 3- Le livre de Thot, for string trio and piano and performed in four movements inspired by four tarot cards. These three pieces are described and analyzed in chapters two, three, and four respectively.

Contained in this study is a musical discussion and analysis of seven Romance Sans Paroles (song without words), written by three French composers, Charles-François Gounod, Camille Saint-Saëns, and Gabriel Fauré. The Romance Sans Parole genre seems to be quite unknown in the piano field; as a result, there are few secondary sources available. By immersing myself in these scores, I sought to discover their musical value and compositional nuance and excellence. I thoroughly investigated each composer’s unique treatment of melody, harmony, rhythm, texture, and form. Chapter One includes an Introduction, brief biographical information on each composer, the Need for the Study, the Purpose of the Study, a Review of Literature, and a Methodology. Chapters Two, Three, and Four consist of a musical analysis and discussion of the seven Romance Sans Paroles. Chapter Five offers a Conclusion and Suggestions for Further Study. I believe my dissertation will enhance the understanding and appreciation of this art form. / School of Music

Black Snow, an orchestral work composed by Michael Smetanin in 1987, was named after the book Black Snow by Mikhael Bulgakov. Newspaper articles, reviews and the literature researched, all comment on Smetanin’s style and on the influences that shaped that style. The aggressive and confrontational style of much of Smetanin’s music can be attributed partly to his love of rock music and jazz and partly to his mentor in the Netherlands, Louis Andriessen. The same sources quote other composers who also influenced Smetanin’s style. Three works in particular are named, that is, Trans by Stockhausen, Keqrops by Xenakis and De Tijd by Andriessen. It was decided, in the light of previous investigations into Smetanin’s music, to take one of these composers, namely Stockhausen and his work Trans, and discover how much Smetanin was influenced by this composer and this particular work. Trans was chosen because the similarities with Black Snow are less obvious. All aspects of Black Snow were examined - namely the harmony, rhythms, the important textures, serial/mathematical techniques, orchestration, the dramatic program, how the instruments are played - and then compared with Trans for similarities and differences. The results of the analytical investigation show that, while the internal organisation of the two works is very different, there are significant similarities between the two works in most of these areas. Serial/mathematical techniques could only be demonstrated in one area, and this is only conjecture.