Depuis les années 1980, la société chinoise a eu un grand changement qui a ouvert la porte au monde. La musique contemporaine chinoise a aussi un grand développement pendant cette période. Dans ce cas-là, qu’elle est la spécificité de cette musique ? Nous regardons le chemin du développement de la musique contemporaine chinoise dès le début du XXème siècle, ce développement a eu une caractéristique commune (le nationalisme) dans les différents périodes. En même temps, le développement de la musique chinoise a eu ainsi ses propres spécificités périodiques. Dès les années 1980, la musique contemporaine chinoise a prolongé ceux des quatre premières générations qui a combiné la caractéristique communes (le nationalisme) et la spécificité personnelle. Ces musiciens de la cinquième génération ont cherché souvent les matériaux musicaux sur la culture traditionnelle chinoise, parfois ils ont été inspirés de cette culture, puis composés de nombreux œuvres musicales. Ces musiques ont diffusé au monde à nos jours. Ce mouvement a introduit un résultat ce que la culture traditionnelle chinoise a eu une renaissance dans la musique contemporaine chinoise. Dans cette thèse, nous développerons cette vision par les différents domaines comme le fait historique, la technique de la composition et l’esthétique musicales. / From 1980s, CHINA, where great changes have taken placed, has reopened its door to the outside. The Chinese contemporary music has also experienced a rapid development, which leads to the question that how the feature of its development presents.Looking back to the way of Chinese modern music from early 20th century, a common trait can be found in different stages, which can be named as ‘national character’. Meanwhile it extends to various features to reflect the periods.From 1980s, Chinese modern music not only inherits the common character of the previous generations, but also reveals its own distinction. In order to realize all these features, the Chinese musicians of the 5th generation, deriving inspirations and contents from traditional culture of CHINA accompanied by their unique techniques, have created a great amount of musical products. With the worldwide spread of these products, Chinese traditional culture has come to be known gradually. All these lead directly to the renaissance of Chinese traditional culture to a certain extent. In this dissertation, points will be stated from aspects of history, composition technique and aesthetics, etc.

This study traces the development of music education in Nigeria from its origins to the present day and clarifies how certain ideas and practices in Nigerian music education have originated. The study includes the discussions of the historical roots of modern music studies as based on indigenous African philosophy of education, later influenced by Islam and Islamic philosophy of education and Western systems of music education. The thesis looks historically and analytically at some problems of music education policy implementation and their implications or consequences (intended and unintended). Working from a postcolonial discursive perspective, the study narrates the story of Nigeria’s colonial encounters in a way that gives prominence to issues of educational policies and music curricula content that have, to date, been kept on the periphery of the education debate. This study examines the postcolonial Nigerian governments’ attempts to promote African cultures and traditions and efforts to expand as well as reform the education sector to reflect the Nigerian heritage and culture. The efforts to expand have outstripped the efforts to reform The efforts to reform the modern educational enterprise have led to the emergence of National Policy on Education, the Cultural Policy for Nigeria, the central control of education, and the provision of national music curricula. This study investigates the development of music education, policies and curricula since Nigeria’s independence in 1960, examines its current states and concludes that the attainment of independence has done little to erase the footprints of colonial music education ideology in Nigeria. Following an introduction to the music profession in Nigeria, the study provides an overview of the changes to tertiary music education since 1961 and analyses major issues currently faced by Nigerian tertiary music educators and scholars including: a shortage of qualified music academics, inappropriateness of imported music curriculum to the socio-cultural peculiarities of the Nigerian society, the unfit marriage of academic teaching and professional training in the music curricula, inability to produce realistic music teachers, policy makers, music education administrators, and learning texts, inadequate music research, and insensitivity to needs of the labour market. The study finds out that Nigeria has a rich musical heritage which includes the indigenous African, Afro-Islamic and Euro-American music. She has viable indigenous African philosophy, modes, and models of music education which is capable of imparting the modern African person with the human values and theoretical imperatives that can make the modern Nigerian person practice music in the modern global context. This legacy, which should empower the modern Nigerian person educationally to demonstrate national identity and mental authority locally and globally, is however, being repressed in schools and colleges curricula. Nigeria continues to struggle with music curricula that were laid down by colonial regime in the past but still continues to govern the development of musical life of Nigerian people. It is the finding of this study based on the analytical perspectives it adopts that the National University Commission (NUC) music curriculum content does not measure up with the criteria of validity, significance, interest, learnability, utility, contemporariness, relevance and consistence with social realities. The analysis of the curriculum content with Holmes (1981) theories also reveals that it is essentialism, encyclopaedic and less pragmatic in orientation while its objectives are more subject-centred than society-centred and student-centred. The study obtains evidence from observation of about 100 music lessons in ten tertiary departments of music, a tracer study of 400 music graduates, 105 students’ evaluation of institutional resources, and 28 practitioners’ and 22 academics’ (50) rating of capabilities they considered essential in a music graduate. It sources further evidence from 15 employers’ of music graduates who identified some strengths and weaknesses of music graduates they employed. From an evaluation of this evidence, the quality of the present tertiary music curriculum is judged to be generally poor and uninspiring. The study posits that tertiary music education in Nigeria needs a fundamental improvement. Based on its findings, the over-riding recommendations of the study are that all aspects of music education in Nigeria should be indigenous music research-based, indigenous culture-sourced and continuously evaluated to insure that music education programmes in Nigeria are as effective as possible in the context of Nigerian experiences and aspirations as with Nigerian students and other shareholders. It further recommends that music educators must adapt both music curricula and methods to the cultural backgrounds and needs of a changing Nigeria’s student population. / Thesis (DMus)--University of Pretoria, 2007. / Music / unrestricted

The dissertation Topic of popular music in the local press of contemporary Karlovy Vary region in the period 1957 - 1967 attempts to capture the process of official views presented in the regional press between the years 1957 - 1967 in the territory of today's Karlovy Vary Region on various genres of modern music, represented by mainstream dance music which later evolved into popular music. Articles, reviews and critiques relevant to modern music published in newspapers in area of Karlovy Vary and specialist publications dedicated to particular cultural issues in the region was used for the research. Furthermore, it was primarily jazz and rock music in Czechoslovakia known as big beat (bigbít). The introduction deals with the theoretical and methodological issues appropriate to the topic and their possible use. The next part deals with the social and cultural context in Czechoslovakia at that time, the influence of ideology on culture and simultaneously on releasing in art and society during the 1960s. An overview of contextualization within postwar (World War II) official press, the situation regarding modern music in Karlovy Vary regional press in the period 1948 - 1956 and also archival documents that are related to the topic of work are mentioned in the second part. The third part deals with...

This dissertation aims to address the pedagogical gap in introductory material for contemporary clarinet instruction. Through examining the most prominent contemporary methods for the clarinet, the pedagogical gap is highlighted, particularly regarding material aimed at newcomers and early undergraduate students. To address these needs, a new collection of etudes is proposed, introducing extended techniques and contemporary notation for newcomers to modern music.

I detta arbete beskrivs samarbetet mellan en blockflöjtist och en kompositör i kompositionsprocessen av ett solostycke för blockflöjt. Studien tog sin bakgrund i en vilja att bidra till blockflöjtens utveckling inom samtida musik. Studien åsyftade att undersöka tidigare nämnda samarbetsprocess samt instuderingsprocessen av det resulterande stycket för instrumenttypen voiceflute, i synnerhet hur instuderingsprocessen påverkades av att stycket aldrig tidigare tolkats eller uppförts. För att uppnå detta hölls frekventa möten mellan musiker och kompositör och både samarbetsprocess och instuderingsprocess dokumenterades genom loggföring. Denna metod resulterade i ett tätt samarbete där både musiker och kompositör tillförde värdefulla kunskaper till både kompositions- och instuderingsprocessen. Samarbetet ledde till ett solostycke för voiceflute, Väntan i Nattavaara. Stycket är väl lämpat till voiceflutens egenskaper och utnyttjar många av blockflöjtens unika uttrycksmöjligheter och alternativa tekniker. Genom studien genererades således ett värdefullt tillskott till den moderna blockflöjtsrepertoaren. Särskilt värde ligger i att stycket skrevs till voiceflute, en sällan förekommande blockflöjtstyp i nutida musik. Studien har även lett till personlig och konstnärlig utveckling för kompositör såväl som musiker. Det finns dessutom vidare forskningsmöjligheter inom området. / This thesis describes the collaboration between a recorder player and a composer in the process of composing a solo piece for recorder. The study was born of a desire to contribute to the development of the recorder in contemporary music. The study aimed to investigate the previously mentioned collaboration process as well as the process of interpreting the resulting piece written for the instrument type voice flute, in particular how the interpretation process was affected by the piece never having been interpreted or performed before. To achieve this, frequent meetings were held between composer and musician, and both the collaboration process and the study process were documented through journaling. This method resulted in a close collaboration where both musician and composer contributed valuable knowledge to the composition and interpretation processes. The collaboration led to a solo piece for voice flute, Väntan i Nattavaara. The piece is well suited to the characteristics of the voice flute and utilizes many of the recorder’s unique methods of expression and extended techniques. The study thus generated a valuable addition to the modern recorder repertoire. Particular value lies in the fact that the piece was written for the voice flute, a type of recorder rarely found in contemporary music. The study has also led to personal and artistic development for both composer and musician. Additionally, there are further research opportunities in the area.