No description available.

Thesis (Ph.D.)--University of Delaware, 2007. / Principal faculty advisor: Susan Goodman, Dept. of English. Includes bibliographical references.

Thesis (Ph. D.)--University of Florida, 1983. / Description based on print version record. Typescript. Vita. Includes bibliographical references (leaves 103-107).

Thesis (D. Min.)--Westminster Theological Seminary, Philadelphia, 1986. / Includes index. Bibliography: leaves 178-183.

Thesis (Ph. D.)--Ohio State University, 1987. / Includes bibliographical references (leaves 113-118). Available online via OhioLINK's ETD Center

No description available.

Thesis (MA) -- University of Stellenbosch, 2004. / ENGLISH ABSTRACT: This study was undertaken with a view to evaluate the effect of music education on the self-concept of the learner with attention deficit hyperactivity disorder. Four learners diagnosed with attention deficit hyperactivity disorder were asked to participate in a music program presented for two terms by the researcher. The selfconcept of the learners was recorded through interviews and questionnaires by the learners and their parents before the study commenced. Observations by the researcher and objective observer were used to monitor the learners' progress during the course of the lessons. After the completion of the music program the learners and their parents were again asked to participate in an interview and to complete a questionnaire. This study revealed that music education is a great enjoyment to these learners and the self-concept and self-confidence of some of the learners improved. A literature review was done in order to obtain a perspective on attention deficit hyperactivity disorder. A historical overview provided insight into the development of this disorder necessary to describe it properly. The study also focuses on various intervention techniques which can be used by parents and teachers. In addition, the study focuses on the role of music education and music practice on the various developmental levels of the learner and how music can indeed affect relaxation and be responsible for lifelong learning. It is recommended that the learners continue with mUSIC education, because it provides them with a sense of success and it plays a vital role in the cognitive development of the learner. This, in tum, leads to lifelong learning: an influence that will remain an irrevocable part of the child for the rest of his/her life. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem met die doelom die uitwerking van musiekonderrig op die selfbeeld van die leerder met aandagafleibaarheid-hiperaktiwiteit te evalueer. Vier leerders wat gediagnoseer is met aandagafleibaarheid-hiperaktiwiteit is genader om 'n musiekprogram, aangebied deur die navorser, vir twee kwartale by te woon. Die selfbeeld van die leerders, wat vooraf deur middel van onderhoude en vraelyste deur die leerders en hulouers voltooi is, is geëvalueer. Die leerders se vordering is tydens die lesse deur middel van observering en objektiewe waarneming bepaal. Na afloop van die musiekprogram is die leerders en hulouers weer gevra om 'n onderhoud en vraelys te voltooi. Uit die studie blyk dit dat musiekonderrig 'n groot mate van genot vir die leerders is en daar was 'n verbetering in selfbeeld en selfvertroue by sommige van die leerders. 'n Literatuuroorsig bied insig oor die omvang van aandagafleibaarheid-hiperaktiwiteit en 'n historiese oorsig oor die verloop van die proses wat tot 'n beskrywing van die versteuring lei, word bekyk. Die verskeie intervensie-tegnieke wat deur ouers en opvoeders toegepas kan word, word bespreek. Verder word die rol wat musiekonderrig en musiekbeoefening op die verskillende ontwikkelingsvlakke van die leerder speel aangespreek, asook hoe musiek 'n ontspannende effek kan hê en verantwoordelik kan wees vir lewenslange leer. Dit word aanbeveel dat leerders volhou met musiekonderrig, omdat dit 'n gevoel van sukses verskaf en 'n belangrike rol speel in die leerder se kognitiewe ontwikkeling. Laasgenoemde is gevolglik verantwoordelik vir lewenslange leer: 'n onherroeplike invloed op die leerder vir die res van sy/haar lewe.

Thesis (Ph.D.)--Edith Cowan University, 2006. / Submitted to the Faculty of Education and Arts. Includes bibliographical references.

Thesis (M.A.)--Carleton University, 2004. / Includes bibliographical references (p. 163-172). Also available in electronic format on the Internet.

abstract: ABSTRACT The early music revival in Paris, which came into full swing in the 1890s, had a defining impact on the composer Claude Debussy. Among the leaders of this movement were the Chanteurs de Saint Gervais under the direction of Charles Bordes and the Schola Cantorum, a school Bordes founded for the study and performance of early music in Paris. Debussy wrote admiringly of the performances of the Chanteurs and opera productions he saw at the Schola. He also spoke of the revelatory nature of performances of Renaissance masses that he heard in Italy after he won the Prix de Rome. Finally, he most likely visited Solesmes, important in the revival of plainchant. Hitherto unknown documents raise questions about the date of that visit, which most likely took place in 1892 or 1893. A powerful manifestation of the influence of early music on Debussy’s compositional style is a melodic gesture that he referred to as “arabesque.” Debussy made many comments about the “divine arabesque,” which he related to the “primitives,” Palestrina, Victoria, and di Lasso. Further, Debussy connected those composers’ use of the arabesque to plainchant: “They found the basis of [the arabesque] in Gregorian chant, whose delicate tracery they supported with twining counterpoints.” Debussy’s writings on early music provide a deeper context for understanding how plainchant, as well as music from the Renaissance, contributed to his compositional style, specifically in his use of modes and his notion of the arabesque. These influences are especially apparent in his only a cappella choral work, Trois chansons de Charles d’Orléans. Until now, analysis of the Trois chansons has not sufficiently considered the importance of either plainchant or the arabesque and their influence on the style and character of this work. Viewing Debussy’s musical aesthetic through the lens of plainchant and the arabesque brings his music to life in a new and exciting way, resulting in a richer understanding and more informed performance practice, especially in the Trois chansons de Charles d’Orléans. / Dissertation/Thesis / Doctoral Dissertation Music 2016