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21	Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning / Musical learning and development in higher music education : A cultural-psychological study of performance students’ ways of relating to one-to-one tuition Holgersson, Per-Henrik January 2011 (has links) The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward. / Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet / Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning one-to-one tuition higher music education cultural tools classical music jazz music apprenticeship music performance students’ learning and development cultural psychology the Bologna process HUMANITIES and RELIGION HUMANIORA och RELIGIONSVETENSKAP
22	Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning / Musical learning and development in higher music education : A cultural-psychological study of performance students’ ways of relating to one-to-one tuition Holgersson, Per-Henrik January 2011 (has links) The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward. / Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet / Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning one-to-one tuition higher music education cultural tools classical music jazz music apprenticeship music performance students’ learning and development cultural psychology the Bologna process HUMANITIES and RELIGION HUMANIORA och RELIGIONSVETENSKAP
23	The Art of the Steel Pan instrument in a Jazz combo Thomas, Leon 23 April 2012 (has links) The Master’s Recital recorded on the compact disc that accompanies this paper presents seven compositions. Five of them are my own, and two are my arrangements of compositions by musicians that I admire. The paper includes scores of the original compositions and arrangements, as well as program notes that offer historical background, summaries of the form, and observations on performance practice for each selection. My goal is to demonstrate to jazz devotees and to music lovers in general the capabilities of the steel pan instrument within a jazz combo setting. Each composition exploits the full range of challenges the percussionist faces in a jazz combo performance. I explore different stylistic approaches and musical concepts that enable a high level of improvised musical performance on an instrument that is relatively new to jazz. Jazz Jazz Music Steel Pan Steel Drum Leon "Foster" Thomas Jazz Performance FIU Jazz Modern Jazz leon thomas drums percussion
24	Béla Bartók im Jazz: zur Bedeutung des Komponisten im Schaffen von Richie Beirach und Woody Shaw Dreps, Krystoffer 15 June 2009 (has links) Die musiktheoretische Analyse setzt die Musik Bartóks mit der Beirachs und Shaws in Beziehung und fragt nach Schnittstellen in der Musik der drei Komponisten. info:eu-repo/classification/ddc/781 ddc:781
25	Taktarter och dans : en studie i hur taktarter kan användas i jazzdansundervisning Larsson, Sara January 2022 (has links) The purpose of this essay is to inspire and find ways to incorporate different time signatures in jazz dance education. Through literature studies, a focus group and an own analysis leading up to the meeting with the focus group, I founded a base of knowledge, but also material to analyze. By comparing my different sources of information, I found that the different time signatures, have different qualities, but they are also affected by other factors such as the instruments, singing and how it is performed. During the meeting with the focus group, I also found that music and dance is personal and that feeling calm and secure with the music is important to be able to move freely to it. In the discussion I could see that there are a lot of ways that you can use different time signatures in jazz dance education. Some examples were to expand your musicality and musical knowledge, but also to highlight and use certain qualities in the different time signatures to develop your dynamic practice. Jazz dance Time signatures Jazz music Music and Dance Dance pedagogy Dance education Jazzdans Taktarter Jazzmusik Musik och Dans Danspedagogik Dansundervisning Pedagogical Work Pedagogiskt arbete Performing Arts Scenkonst Music Musik
26	Animate structures : the compositions and improvisations of the Instant Composers Pool Orchestra Schuiling, Floris Jan January 2015 (has links) Founded in 1967, the Amsterdam-based improvising collective the Instant Composers Pool is one of the longest consistently performing groups in improvised music. This thesis forms an ethnography and musicological study of the ICP Orchestra, which originated when the "pool" developed a more coherent line-up around 1980. With a background in experimental music as well as free jazz, their performance practice differs in many respects from the practices of American forms of jazz. Whereas most accounts of improvisation emphasise orality and creative interaction in opposition to the performance of composed music, 'instant composition' defines improvisation precisely in terms of compositional thinking. Moreover, founding member and orchestra leader Misha Mengelberg composed a very diverse repertoire for the group which draws on styles from Duke Ellington to John Cage and uses various forms of compositional and notational techniques to explore the different improvisatory possibilities that they afford, thus blurring the distinction between improvisation and composition both in name and in practice. Apart from a detailed historical and ethnographic description of a group that is central to a genre that has been underrepresented in music-historical research, this thesis investigates the repertoire of the ICP and its use as an opportunity to reconsider the relation between musical text and performance. Drawing on my observations and interviews with the musicians, and connecting these to theories of material culture and science and technology studies, it develops a concept of compositions as animated and animating objects in performance, tools and materials that participate in the creative interactive process of improvised performance rather than textual representations of 'the music itself'. I substantiate this theory with detailed descriptions of ICP performances recorded during fieldwork. This contributes to a rethinking of musical notation and simultaneously brings new insights into improvisation as a creative practice. 784.2
27	The dialogic and the carnivalesque in Beloved and Jazz by Toni Morrison Hamdi, Houda January 2008 (has links) Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal. Toni Morrisson African Ametrican art L'art Afro-américain Magical realism Le réel magique Black history L'histoire des Afro-américains Jazz music La musique de jazz Hybridity Intertextuality L'intertextualité Mikhail Bakhtin Dialogism Dialogisme Carnivalesque Le carnavalesque Fragmentation La fragmentation Modernism Modernisme Poststrucuralism Post-structuralisme Death of the author ±La mort de l'auteur»
28	Analysis and Categorization of Selected Musical Elements within Forty-three Solo Jazz Vocal "Standards" with Pedagogical Application to Repertoire Selection and the Teaching of Jazz Concepts in the Jazz Voice Lesson Buchholz, Timothy C. 03 May 2010 (has links) While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.
29	The dialogic and the carnivalesque in Beloved and Jazz by Toni Morrison Hamdi, Houda January 2008 (has links) Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal Toni Morrisson African Ametrican art L'art Afro-américain Magical realism Le réel magique Black history L'histoire des Afro-américains Jazz music La musique de jazz Hybridity Intertextuality L'intertextualité Mikhail Bakhtin Dialogism Dialogisme Carnivalesque Le carnavalesque Fragmentation La fragmentation Modernism Modernisme Poststrucuralism Post-structuralisme Death of the author ±La mort de l'auteur»
30	Adorno on Music and Politics Mariasin, Dalia January 2020 (has links) This study aims to discern and assess Theodor Adorno’s theories on music as an ‘art’ and how it impacts both the political and social landscape of society; more broadly, the purposes of this paper is to identify, and determine the significance of, the relationship between music and politics – that is, whether or not, and how, music can emancipate society from capitalist enslavement. In juxtaposing Adorno’s theories, the opinions of Herbert Marcuse will be discussed as well. As both theorists are considered integral to the creation and development of critical theory of the Frankfurt School, it is only logical to examine their theories and ideologies in detail to determine the role of music as an ‘art’ in the overarching scheme of political scaffolding within which society resides. / Thesis / Master of Arts (MA) Adorno Marcuse art music culture industry modernity Mahler capitalism Schoenberg jazz music emancipation false consciousness bourgeoisie class mass deception false needs 'dark' art mass enslavement class conflict 'autonomous' art pop music swing bands 12-tone scale 'extremes' 'high' art 'low' art modernism mass consciousness propaganda conformity anti-conformity culture liberation commercialization commodification 'commodity fetish' fetish of music technique tonality atonality 'art for art's sake' critical reflection status quo

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