The making of Sea Blue Sea began in August, 2013 with the creation of the albums first song Blue Whale and was completed in March, 2014. The projects scope was broad, including a ten-track album about endangered marine wildlife. I researched endangered marine wildlife, including eleven endangered marine species were chosen as subjects for songs, I began the writing process. I wrote six songs with minimal outside assistance and collaborated with The Whizpops for the remainder of the ten tracks included on the album. We fundraised through a Kickstarter campaign. In order to do so, we created a short film which served as a tool to engage would-be supporters of the project. When we had raised the necessary funds, we recorded the songs and held a CD release party. The Whizpops and I experienced many expected and unforeseen challenges throughout this project, including financial obstacles, time constraints and philosophical differences. This paper illustrates ways in which we overcame those challenges to create music that we hope will inspire future generations of artists and conservationists!

Made available in DSpace on 2016-12-08T17:06:43Z (GMT). No. of bitstreams: 1 114569.pdf: 4861591 bytes, checksum: 9fe65a6b26c2e97fe649436d94ac949d (MD5) Previous issue date: 2013-12-02 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / This dissertation is addressing the study of Scenic Choir (Coro Cênico) as a modality which transforms the choir movement in Brazilian Music and aims to research the history of the innovation of the Scenic Choir in Brazilian Music. The research question was formed from transformations occurring in vocal groups and choirs throughout the twentieth century in Brazil: what were the consequences of the process of creation and systematization of the scenic choir in music production in Rio/São Paulo and later in the southern region of the country. From a historical perspective, the elements which contributed for the arising of this choral singing modality were addressed: Canto Orfeônico and vocal groups between the thirties and the sixties that developed a new edification in the arrangements of Brazilian Popular Music; the cultural landscape in the second half of the twentieth century with the movements of the Counterculture, Festivais da Canção (song festivals), Tropicalism, Experimentalism and the Vanguarda Paulista (São Paulo vanguard), which were, among others, responsible for the introduction of the experimental music in choral singing. The conceptions of Scenic Choir and integrated arts, which aggregated theater and dance within choral singing, are exposed through the testimony of its principal agents. In this process, the need for readjustment of group singing assumes a central function. This new function of the singer is discussed from the perspective of the "emancipated singer", which must incorporate knowledge in the areas of physiology and vocal technique, music in general scope, theater and movement, thereby supplying the needs this art requires. As an object of study, three vocal groups from the southern Brazil were chosen Vocal Brasileirão , from Curitiba/PR, Expresso 25 , from Porto Alegre/RS and the group Aretê , from Itajaí/SC - with analytical emphasis in the latter, of which the creative process of the show Aretê, o boi , was studied in detail. / Esta dissertação tem como tema o estudo do Coro Cênico como uma modalidade transformadora do movimento coral no Brasil e, como objetivo principal pesquisar a história da renovação do canto coral na música brasileira. A questão de pesquisa se constituiu a partir das transformações ocorridas nos grupos corais e vocais ao longo do século XX no Brasil: quais foram os reflexos do processo de criação e sistematização do coro cênico na produção musical do eixo Rio/São Paulo e posteriormente na região Sul do país. Em uma perspectiva histórica, são abordados os elementos que contribuíram para o surgimento desta modalidade de canto coral: o Canto Orfeônico e grupos vocais entre os anos de 1930 e 1960 que desenvolveram uma nova edificação nos arranjos de Música Popular Brasileira; o panorama cultural na segunda metade do século XX com os movimentos da Contracultura, os Festivais da Canção, Tropicalismo, Experimentalismo e a Vanguarda Paulista, que foram, entre outros, responsáveis pela introdução da música experimental no canto coral. As concepções de Coro Cênico e artes integradas, que agregam o teatro e a dança dentro do canto coral, são expostas através do depoimento de seus principais agentes. Neste processo, a necessidade de readequação do canto em grupo assume um papel central. Esta nova função do cantor é discutida a partir da perspectiva do cantor emancipado , que deve incorporar conhecimentos nas áreas de fisiologia e técnica vocal, música num âmbito geral, teatro e movimento, suprindo assim as necessidades que esta arte exige. Como objeto de estudo, foram escolhidos três grupos vocais do Sul do Brasil Vocal Brasileirão de Curitiba/PR, Expresso 25 de Porto Alegre/RS e o grupo Aretê de Itajaí/SC com ênfase analítica neste último, do qual o processo criativo do espetáculo Aretê, o boi foi estudado detalhadamente.

The structure of an education system and its curricula reflects the influence of a specific paradigm. Since the onset of colonial rule and apartheid in South Africa about everything in the South African society, including the education system and curricular issues in particular, have been shaped in accordance with the macro paradigm: the modern Western paradigm. The emergence of a new paradigm: the postmodern paradigm, created the possibility of a new order of thinking which influenced all societal domains and aspects and propelled the society into the new millennium. Since 1994 a new approach forms the corner stone of all the new South African policy documents on education. It is for this reason that the issue of an arts education curriculum is investigated from a paradigmatic point of view with reference to the modern, the postmodern and the African paradigms. Various components, roles and dynamics of educational curricula cast in the modern paradigm framework are compared with characteristics of their counterparts in the postmodern paradigm framework, and how they can influence the design of curricula, especially arts education. The contribution of an African paradigmatic perspective is accounted for. A new approach to curriculum development based on the ideals of a learner-centred education approach, an outcomes-based education approach and the integration of subjects into specific learning areas has officially been adopted as the approach for transforming education and curricular issues, resulting in the present Curriculum 2005. Within the context of the Arts and Culture learning area of this Curriculum, the study concentrates on and emphasises the integration of the four art forms of dance, drama, music and visual art in order to overcome the legacy of fragmentation of a curriculum. The study culminates in a proposed integrated arts education outline for curriculum development that defines the rationale and vision for South African arts education. The researcher contends that there is sufficient scope for arts education to contribute its unique aesthetic values to the new national curriculum in South Africa and that integration of these art forms does not in any way diminish the unique character of each. / Didactics / D. Ed. (Didactics)

The structure of an education system and its curricula reflects the influence of a specific paradigm. Since the onset of colonial rule and apartheid in South Africa about everything in the South African society, including the education system and curricular issues in particular, have been shaped in accordance with the macro paradigm: the modern Western paradigm. The emergence of a new paradigm: the postmodern paradigm, created the possibility of a new order of thinking which influenced all societal domains and aspects and propelled the society into the new millennium. Since 1994 a new approach forms the corner stone of all the new South African policy documents on education. It is for this reason that the issue of an arts education curriculum is investigated from a paradigmatic point of view with reference to the modern, the postmodern and the African paradigms. Various components, roles and dynamics of educational curricula cast in the modern paradigm framework are compared with characteristics of their counterparts in the postmodern paradigm framework, and how they can influence the design of curricula, especially arts education. The contribution of an African paradigmatic perspective is accounted for. A new approach to curriculum development based on the ideals of a learner-centred education approach, an outcomes-based education approach and the integration of subjects into specific learning areas has officially been adopted as the approach for transforming education and curricular issues, resulting in the present Curriculum 2005. Within the context of the Arts and Culture learning area of this Curriculum, the study concentrates on and emphasises the integration of the four art forms of dance, drama, music and visual art in order to overcome the legacy of fragmentation of a curriculum. The study culminates in a proposed integrated arts education outline for curriculum development that defines the rationale and vision for South African arts education. The researcher contends that there is sufficient scope for arts education to contribute its unique aesthetic values to the new national curriculum in South Africa and that integration of these art forms does not in any way diminish the unique character of each. / Didactics / D. Ed. (Didactics)