Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 104-108). Also available on the Internet.

Thesis (Ph.D.)--University of Missouri-Columbia, 2004. / Typescript. Vita. Includes bibliographical references (leaves 104-108). Also available on the Internet.

Thesis (Ph. D.)--Ohio State University, 2007. / Title from first page of PDF file. Includes bibliographical references (p. 112-114).

Thesis (Ph. D.)--University of Washington, 1986. / Vita. Bibliography: leaves [706]-729.

No description available.

Thesis (D.W.S.)--Robert E. Webber Institute for Worship Studies, 2008. / Abstract and vita. Includes bibliographical references (leaves 79-85).

Made available in DSpace on 2015-05-14T12:52:32Z (GMT). No. of bitstreams: 1 parte1.pdf: 3947611 bytes, checksum: 9453979f5d939cdb409198b7bcbc5cb0 (MD5) Previous issue date: 2013-03-15 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Research on instrumental teaching have gone through significant development in recent decades, gaining, as a result, considerable importance and legitimacy, especially within the context of research in music education. Based on this fact, the present work shows the results of a study on instrumental teaching, contemplating most specifically the teaching of the French horn in northeastern Brazil. Thus, the research involves horn teachers working in the Federal University of Paraíba, Federal University of Pernambuco, Federal University of Bahia and Federal University of Rio Grande do Norte. This dissertation aims at presenting and analyzing the didactic materials employed by these teachers, reflecting on the main features of such materials, their uses and applications towards the formation of horn players. The research methodology included bibliographical studies, documental research, semi-structured interviews and the empirical experiences consolidated by the author s expertise both as a performer and a teacher of the instrument at Federal University of Rio Grande do Norte and in other parts of Brazil. One can easily see from the survey that the main didactic material used was of European origin, focusing on the European orchestral repertoire and the soloist horn repertoire. However, teachers use this material, adapting it to their pedagogical purposes, combining it with Brazilian music. The study demonstrates that teachers have adopted it to their own guidelines, organizing the material and adapting it in accordance with the professional profiles and realities of both teachers and students. / Os estudos sobre ensino de instrumento têm se expandido significativamente nas últimas décadas, ganhando espaço e legitimidade, sobretudo no âmbito das pesquisas em educação musical. Considerando essa realidade, esta dissertação apresenta resultados de uma pesquisa acerca do ensino instrumental, contemplando mais especificamente o ensino de trompa no Nordeste brasileiro. Assim, o universo da pesquisa foi constituído pelos professores de trompa atuantes na Universidade Federal da Paraíba, Universidade Federal de Pernambuco, Universidade Federal da Bahia e Universidade Federal do Rio Grande do Norte. A dissertação tem como objetivo geral apresentar e analisar os materiais didáticos que vem sendo utilizados pelo professores de trompa na Região, refletindo sobre as características desses materiais, seus usos e possibilidades de aplicação no processo de formação do trompista. A metodologia da pesquisa abrangeu estudos bibliográficos, pesquisa documental, entrevistas semiestruturadas, bem como experiências empíricas consolidadas a partir da atuação do autor como trompista e professor do instrumento na Universidade Federal do Rio Grande do Norte e em outras localidades do país. A partir da pesquisa realizada ficou evidente que os principais materiais didáticos utilizados são de origem europeia e focam o repertório orquestral europeu e o repertório para trompa solista. Apesar disso, os professores utilizam estes materiais adequando-os a suas propostas pedagógicas, inserindo cada vez mais o trabalho com a música brasileira. O trabalho demonstrou que cada professor possui direcionamentos próprios, organizando os materiais que utilizam, principalmente, em função da realidade da trajetória profissional de cada um e do perfil dos estudantes de cada contexto de ensino.

Thesis (Ph.D.)--Boston University / The purpose of this study was to examine the development of Elizabethan consort music from its weal origin as presented in two manuscripts from the period. The following conditions governed the selection of the manuscripts: (1) they should contain a representative number of composers from the period; (2) they should picture, as clearly as possible, the evolution of Elizabethan instrumental ensemble music; and (3) they should contain a sufficient number of works in one instrumental form so that a valid analysis of that form could be concluded. The two manuscripts chosen on the basis of the forementioned conditions were British Museum Additional Manuscript 31,390 and Bodleian Library Manuscripts D. 212-216. Together they contained almost two hundred vocal and instrumental compositions by both Continental and English composers from the sixteenth and early seventeenth centuries. Approximately half the contents of the two sources were In Nominee, an English instrumental form based on a cantus firmus from the Benedictus of Taverner's "Missa Gloria tibi Trinitas" [TRUNCATED]

The primary purpose of this study was to examine and describe, through the lens of nexus analysis, how social action impacted the compositional processes of high school string students as they engaged in collaborative composition. In this study, I examined the complex convergence of verbal and non-verbal communication while students were engaged in music co-creation and how it impacted social practices such as rules, roles, or division of labor. Specifically, this qualitative study investigated the following research questions: (1) How does social action impact the compositional processes involved in co-creation? (2) What roles, social structures, or social identities do students who are engaged in musical co-creation assume? The participants in this study included eight high school orchestra students who participated in ten after-school small group music composition sessions. Each session was 45 minutes in duration and occurred over an eight-week period. Additionally, students participated in two individual semi-structured interviews and two semi-structured focus group interviews. The participants in this study adopted an interaction order they referred to as The Circle. This global concept consisted of a set of rules for behavior, interactions, and democratic guidelines. It provided a social safety net of acceptance for each member of the group. An underlying theme of The Circle was the goal of achieving equality within the group regardless of previous musical experiences or expertise. The following data were analyzed: (a) students’ responses, processes, and behaviors (both musically and verbally) that occurred during the collaborative activities; (b) students’ verbal responses to questions in both individual and focus group interviews; and (c) field notes and artifacts that were examined to reveal any relevant data. A common theme throughout the study was the adoption of multiple roles. Participants in this study assumed four different roles: follower, advocate, tutor, and leader. Only two members retained a single role for the duration of the study while the other six girls assumed multiple roles depending on the needs of the group at a specific moment in time.

xxiii, 507 p. / This dissertation contextualizes melodic variation within a cultural, historical, and cognitive framework. This work discusses how traditional musicians learn how to vary melodies by observing norms of social and musical behavior exhibited by senior musicians. The core of this dissertation is the transcription and analysis of fifty source recordings of fifty different Irish musicians playing one tune each dating from between 1904 and 2007. Though the transcriptions of the recordings exhibited a high instance of melodic variation (48.2% of the measures), only a small percentage of variation fell on set accented tones (an average of 7.3%). The considerable invariance of set accented tones suggests that part of what constitutes the concept of a tune in an Irish musician's mind relates to the pitch of these key tones. I introduce the term aesthetic conservatism to designate a philosophical approach to performance practice that seeks to maintain both the dance genre and tune identity. I argue that aesthetic conservatism may be a by-product of archetypes and exemplars created through transcriptions and recording technology. This conservatism may also be a function of famine-induced fear of cultural dissolution or inferiority with respect to more prominent music-making supercultures. I call on the philosophy of aesthetic conservatism to explain why few set accented tones are varied. Of the measures that were varied, 74% of those variations involved the addition, subtraction, or redistribution of ornamentation. To catalogue the variety of variations within this sample, I propose a taxonomy that is designed to account for the number of notes in a measure and to assess intervallic differences over successive repetitions of a tune. Finally, I propose a theory to explain the cognitive processes that allow a musician to vary a melody. I suggest that in the mind of a traditional musician there is both a tune schema and a variation schema. These are flexible models that are distinct and separate but that interact within a short span of time because of the exceptionally efficient anatomy of a musician's brain. / Committee in charge: Anne Dhu McLucas, Chairperson; Lori Kruckenberg, Member; Stephen Rodgers, Member; Glen Waddell, Outside Member