O trabalho trilha um caminho que iniciase nas origens do gosto musical como forma de distinção social e vai até as práticas contemporâneas de consumo e fruição da música. Este trajeto é significativamente alterado não só pelas inúmeras evoluções tecnológicas e rupturas estéticas que historicamente serviram à música como também pelas inovações nos ambientes por meio dos quais interagimos com ela. Estes fatores levam a um cenário no qual o homem comum, originalmente afastado dos processos tradicionais de construção do conhecimento e cultura, pode trilhar, impulsionado pela nova lógica presente nas redes sociais digitais, infinitos caminhos para desenvolver suas preferências musicais. O propósito desta trabalho é traçar um panorama deste novo cenário, contribuindo para o melhor entendimento do que significa escutar música atualmente. / This work follows a path that initiates in the origins of musical appreciation as a form of social distinction and leads to the contemporary forms of consumption and appreciation of music. This path is significantly altered not only by the technological evolutions and aesthetical disruptions that impacted music throughout history but also by the shifts that altered the environment where the interactions between music and listeneres take place. These innovations lead to scenario on which the average man, originally secluded from the traditional processes of culture making, can wander through countless paths to develop one\'s music preferences, driven by the new logic of the social networks in the digital world. The purpose of this work is to describe this new musical landscape, contributing for a better understanding of what means to listen to music nowadays

Observar as múltiplas relações entre a oralidade, a escrita e a canção popular brasileira são o objetivo deste trabalho. O que na canção seria atributo da cultura escrita? O que seria reverberação da tradição oral? Os estudos sobre a oralidade, a história da escrita e da leitura articulam-se à análise de fonogramas diversos, de diferentes momentos da história da canção brasileira. Oralidade, escrita, música e poesia compreendidos como campos distintos que, no corpo da canção, interpenetram-se, indiferentes a quaisquer hierarquias. A canção popular é, concomitantemente, compreendida como fenômeno musical, poético e cultural. Tratamos de pensar a canção como gênero e, de alguma forma, pensar seu lugar social (suas origens e transformações, suas relações com os mass media, sua capacidade de adaptar-se às mudanças de paradigmas de produção e recepção e o caráter dadivoso de sua economia). A voz, a palavra cantada, os corpos de quem canta e de quem ouve, os meios materiais de produção, difusão e fruição, constituem um sistema de trocas simbólicas, determinante para a conformação de um gênero específico (híbrido, poético-musical, que é a canção) que se configurou como principal vetor de representação de múltiplas sociabilidades e, não raro, promotor de uma aproximação reflexiva sobre as mesmas. Propomos, portanto, um exercício teórico que conjugue, de alguma maneira, o estudo da forma pela qual as canções se dizem ao que dizem sobre nós as canções. / This work aims at observing the multiple relationships between orality, writing and popular songs. How much of song writing is attributable to written culture? How much of it is a reverberation of oral tradition? Studies about orality, the history of writing and reading are articulated with the analysis of different phonograms, from different moments in the history of the Brazilian song. Orality, writing, music and poetry, understood as distinct fields that, in the body of the song, interpenetrate each other, indifferent to hierarchy. Popular song can be simultaneously understood as a musical, poetic and cultural phenomenon. Our endeavor here is to treat the song as a genre and, somehow, to reflect upon its social place (its origins and transformations, its relationships with mass media, its ability to adapt to paradigm shifts of production and reception and the generous/bountiful/giving character of its economy. The voice, the word being sung, the bodies of those who sing and of those who listen, the material means of production, diffusion and appreciation constitute a system of symbolic exchanges, which is determining in the conformity of a specific genre (the hybrid, poetic-musicalone which the song is) which became the main vector of representation of multiple sociabilities and, not rarely, a promoter of a reflexive approximation between them. What we propose, then, is a theoretical exercise which is able to connect, in some manner, the study of the form through which these songs enunciate themselves to what these songs say about ourselves.

Observar as múltiplas relações entre a oralidade, a escrita e a canção popular brasileira são o objetivo deste trabalho. O que na canção seria atributo da cultura escrita? O que seria reverberação da tradição oral? Os estudos sobre a oralidade, a história da escrita e da leitura articulam-se à análise de fonogramas diversos, de diferentes momentos da história da canção brasileira. Oralidade, escrita, música e poesia compreendidos como campos distintos que, no corpo da canção, interpenetram-se, indiferentes a quaisquer hierarquias. A canção popular é, concomitantemente, compreendida como fenômeno musical, poético e cultural. Tratamos de pensar a canção como gênero e, de alguma forma, pensar seu lugar social (suas origens e transformações, suas relações com os mass media, sua capacidade de adaptar-se às mudanças de paradigmas de produção e recepção e o caráter dadivoso de sua economia). A voz, a palavra cantada, os corpos de quem canta e de quem ouve, os meios materiais de produção, difusão e fruição, constituem um sistema de trocas simbólicas, determinante para a conformação de um gênero específico (híbrido, poético-musical, que é a canção) que se configurou como principal vetor de representação de múltiplas sociabilidades e, não raro, promotor de uma aproximação reflexiva sobre as mesmas. Propomos, portanto, um exercício teórico que conjugue, de alguma maneira, o estudo da forma pela qual as canções se dizem ao que dizem sobre nós as canções. / This work aims at observing the multiple relationships between orality, writing and popular songs. How much of song writing is attributable to written culture? How much of it is a reverberation of oral tradition? Studies about orality, the history of writing and reading are articulated with the analysis of different phonograms, from different moments in the history of the Brazilian song. Orality, writing, music and poetry, understood as distinct fields that, in the body of the song, interpenetrate each other, indifferent to hierarchy. Popular song can be simultaneously understood as a musical, poetic and cultural phenomenon. Our endeavor here is to treat the song as a genre and, somehow, to reflect upon its social place (its origins and transformations, its relationships with mass media, its ability to adapt to paradigm shifts of production and reception and the generous/bountiful/giving character of its economy. The voice, the word being sung, the bodies of those who sing and of those who listen, the material means of production, diffusion and appreciation constitute a system of symbolic exchanges, which is determining in the conformity of a specific genre (the hybrid, poetic-musicalone which the song is) which became the main vector of representation of multiple sociabilities and, not rarely, a promoter of a reflexive approximation between them. What we propose, then, is a theoretical exercise which is able to connect, in some manner, the study of the form through which these songs enunciate themselves to what these songs say about ourselves.

O trabalho trilha um caminho que iniciase nas origens do gosto musical como forma de distinção social e vai até as práticas contemporâneas de consumo e fruição da música. Este trajeto é significativamente alterado não só pelas inúmeras evoluções tecnológicas e rupturas estéticas que historicamente serviram à música como também pelas inovações nos ambientes por meio dos quais interagimos com ela. Estes fatores levam a um cenário no qual o homem comum, originalmente afastado dos processos tradicionais de construção do conhecimento e cultura, pode trilhar, impulsionado pela nova lógica presente nas redes sociais digitais, infinitos caminhos para desenvolver suas preferências musicais. O propósito desta trabalho é traçar um panorama deste novo cenário, contribuindo para o melhor entendimento do que significa escutar música atualmente. / This work follows a path that initiates in the origins of musical appreciation as a form of social distinction and leads to the contemporary forms of consumption and appreciation of music. This path is significantly altered not only by the technological evolutions and aesthetical disruptions that impacted music throughout history but also by the shifts that altered the environment where the interactions between music and listeneres take place. These innovations lead to scenario on which the average man, originally secluded from the traditional processes of culture making, can wander through countless paths to develop one\'s music preferences, driven by the new logic of the social networks in the digital world. The purpose of this work is to describe this new musical landscape, contributing for a better understanding of what means to listen to music nowadays

Prior research has raised questions about different kinds of Music in General Studies (MGS) courses offered at two-year colleges, but few have addressed faculty perceptions related to student learning outcomes (SLO) and institutional missions. In principle, there is a demand on educational institutions to be accountable for SLOs, but two-year colleges present special accountability problems, because they serve multiple missions within each institution. MGS faculty perspectives can provide baseline data needed to demonstrate the ways in which MGS courses contribute to meeting the needs of students, the community, and the institutional missions. This study serves a broader goal of familiarizing readers with faculty perspectives on music education in two-year colleges. More specifically, it contributes to understanding how student learning outcomes of MGS courses are incorporated in light of blended missions as well as the challenges created by serving blended missions within a single music course. The following questions guide the research and focus on South Carolina, two-year college music faculty perspectives on MGS courses: (1) How do instructors of MGS courses describe the primary learning goals of students enrolled in MGS courses? (2) What student learning outcomes do instructors of MGS courses identify for measurement in their MGS courses? (3) How do the instructors' perceptions shape MGS content, textbook selection, and SLOs? (4) How are student learning outcomes measured in MGS courses? (5) How do instructors of MGS courses perceive the purpose of MGS within the institutional mission of their respective colleges? Following within case and cross case analysis of interview data, findings indicated that participants tended to emphasize "identifying the elements of music using correct terminology" as the most important SLO in MGS courses. All participants considered "performing music" the least important SLO. The majority reported their institutional missions as "blended" (transfer and vocational) and perceived MGS courses to be aligned with institutional missions.  

Please read the abstract in the section, 00front, of this document / Thesis (DMus)--University of Pretoria, 2005. / Music / unrestricted

Orientador: Mauricy Matos Martin / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-09-11T21:28:07Z (GMT). No. of bitstreams: 2 BismaradeMelo_LuciaHelenaFernandes_M.pdf: 15276641 bytes, checksum: dec076b8abd2ce916db291d598e63a17 (MD5) BismaraDeMelo_LuciaHelenaFernandes_M_Anexo.zip: 31589789 bytes, checksum: 6ebd05a1b665bfa8ca56b4bb7eb2f474 (MD5) Previous issue date: 2016 / Resumo: A presente pesquisa tem como principal objetivo encontrar caminhos para interpretação da obra "Dez Ponteios para Piano" de Nilson Lombardi, compositor do período nacionalista oriundo da escola de composição de Camargo Guarnieri. Para contextualizar a pesquisa foi traçado inicialmente um breve relato sobre vida e obra do compositor, bem como realizado um levantamento sobre a aplicabilidade do termo Ponteio na música brasileira. A metodologia partiu da delimitação dos procedimentos para abordagem analítica. Esta constitui uma ferramenta que contribui para a compreensão da obra e fornece subsídios para auxiliar e fundamentar as decisões interpretativas, a fim de se chegar a uma interpretação válida. Este trabalho é complementado com a gravação de um Compact Disc realizada pela autora da pesquisa / Abstract: The main objective of this research is to provide interpretative options of the "Ten Ponteios for Piano" by Nilson Lombardi, nationalist composer from Camargo Guarnieri composition school. For a better understanding of this process a brief account of the life and works of the composer is first presented, as well as a discussion of the Ponteio concept and the applicability of this term in Brazilian music. The methodology consists on delimitation of the procedures for analytical approach. This is a tool to contribute to a better understanding of the work and provide additional subsidies to assist and help on interpretative decisions. In this dissertation is also included a compact disc recording of Ten Ponteios interpretated by this author / Mestrado / Música, Teoria, Criação e Prática / Mestra em Música

Depuis leur émergence au milieu du XIXe siècle, les notes de programme, contenant des informations parfois détaillées sur les œuvres qui s’apprêtent à être jouées, n’ont eu de cesse de s’adresser au public de concerts. Les besoins sont multiples, voire même divergents : donner des outils de compréhension intelligibles aux novices, qui découvrent la musique de compositeurs du passé ou de compositeurs actuels, et en même temps susciter la curiosité d’auditeurs déjà initiés, qui approfondissent ainsi leurs connaissances et leur culture personnelle. Il en va des notes de programme comme d’autres outils de vulgarisation musicale, partagés entre la volonté de rendre la musique classique accessible à tous et le devoir de rigueur musicologique auquel les connaisseurs sont en droit de s’attendre. Dans cette thèse, nous allions la théorie à la pratique. Outre les résultats d’une enquête réalisée en octobre 2017 dans le cadre de trois concerts produits par l’Orchestre symphonique de Montréal (ci-après, OSM) et qui porte notamment sur l’appréciation des notes de programme, nous présentons une série de courtes vidéos de vulgarisation que nous avons préparée pour l’OSM, au cours de la saison 2015-2016. La réalisation de ces nouveaux outils numériques s’appuie sur l’analyse d’un vaste corpus de notes de programme dont nous avons dégagé les tendances et les cas plus particuliers. Des résultats que nous avons obtenus, il ressort que le public de l’OSM, loin d’être homogène, est formé d’auditeurs aux attentes très diverses. Pour beaucoup, les notes de programme sont jugées adaptées à la situation du concert, mais elles génèrent aussi des réactions critiques : trop détaillées pour certains, ou bien pas assez approfondies pour d’autres. Bien qu’ils aient acquis des formations et des connaissances musicales diverses, les membres du public semblent du moins s’accorder sur leur intérêt pour la musique, expliquée par l’analyste. C’est à cet intérêt, correspondant aussi aux exigences de la discipline musicologique, que les notes de programme viennent répondre. La question reste de savoir comment décrire l’objet musical afin de répondre aux besoins de chacun. Dans cette thèse, nous cherchons à proposer une solution. / Since their appearance in the mid-nineteenth century, program notes, sometimes containing detailed information on the works that are about to be performed, have continued to meet audiences needs during concerts. They respond to a wide range of needs: providing intelligible comprehension tools for laymen and laywomen, who discover the music of the past and of the present, while arousing the curiosity of well-accustomed listeners, who increase their knowledge and cultivation. This goes for program notes as well as other music appreciation tools, torn between the desire to make classical music accessible to all and, on the other hand, the rigorous approach to musicology that is expected from connoisseurs. In this thesis, we combine both theory and practice. In addition to an inquiry, conducted in October 2017 as part of three concert nights at the Orchestre symphonique de Montréal (hereafter, OSM) – an inquiry which gives us an idea of how program notes are regarded by concert audiences –, we will display a series of short open educational videos that we produced for the OSM, during the 2015-2016 season. The work necessary for these new digital tools is partly based on the analysis of a large body of former program notes from which we have identified a number of trends and specific cases. The results of the inquiry show that the OSM’s audience, far from being homogeneous, is made up of listeners who bear very different expectations. According to many, the program notes are considered appropriate for one’s concert experience. However, they may also spring critical reactions among concertgoers: either too detailed, tedious for some, or somewhat dull for others. Although audience members have different musical backgrounds and scales of knowledge, both novices and connoisseurs seem to share a common interest in the music itself, which needs to be explained through means of analysis. This interest is being fulfilled by program notes, in line with the requirements of musicological research. The question remains: how can one describe a work of music in order to meet the needs of everyone? In this thesis, we try to find appropriate answers to this matter.

Text in English with abstracts in English, isiZulu and Xhosa / Page numbering of table of contents inconsistent with dissertation. Appendix A : Full transcription only of Tip toe by Lacey May / What is it about the vocal melodies of popular music that make you want to listen again and again? This music-theoretical study applies principles of Gestalt psychology and theories of expectation to a study of melodic hooks in 21st-century popular music. The hypothesis tested here is that melodic hooks are a vital element in “catchiness”. Transcription and analysis of melodies by major recording artists is used to explore the note-to-note basis for melodic hooks. The analysis of recordings by Adele, Carly Rae Jepsen, Pharrell Williams and Robin Thicke shows how factors of repetition, familiarity, simplicity, resolution, ambiguity of key, and expectation all contribute to the sense of catchiness in music. A listener-response study was used to test the experience of catchiness in the case studies, and corroborates the hypothesis that catchiness depends principally on expectation as an overarching factor. The study also uses auto-ethnographic reflection on the practice of song-writing to give insight into strategies for creating catchy popular songs. The experience of composing a pop song, and releasing it on air, provides unique insight into the artistic process. The results of all these studies show that the perceptual principle of expectation is a crucial factor in the experience of catchiness. / Ingabe yini eyenza iminkenenezo yomculo odumile ikukhange futhi ikuhehe ufise ukuwulalela kaninginingi? Lolu cwaningo lwethiyori yomculo lusebenzisa imigomo ye-Gestalt psychology kanye namathiyori alokho okulindelekile (theories of expectation) ukucubungula nokuhlaziya amavesi eminkenenezo emnandi futhi ekhangayo yomculo odumile wekhulunyaka lama-21. Ihayiphothesisi ehlolwayo lapha wukuthi amavesi eminkenenezo emnandi futhi ekhangayo ayingxenye esemqoka kakhulu “ekukhangeni” komculo. Ukubhalwa nokuhlaziywa kweminkenenezo yabaculi abayizikhondlakhondla abaqopha umculo kuyasetshenziswa kulolu cwaningo ukucubungula inothi nenothi levesi lomnkenenezo omnandi futhi okhangayo. Ukuhlaziywa komculo oqoshiwe ka-Adele, Carly Rae Jepsen, Pharrell Williams kanye no-Robin Thicke kuyabonisa ukuthi izinto ezinjengokuphindaphinda, ukujwayeleka komculo othile, ubulula bomculo, ukuguquka kwenothi lomculo libe ngumnkenenezo ohlabahlosile (resolution), ukungaqondakali nokungaqiniseki ngokhiye womculo (ambiguity of key), kanye nalokho okulindelekile, konke kuyizinto ezilekelelayo futhi ezifaka isandla ekukhangeni komnkenenezo womculo. Ucwaningo lwendlela abazizwa ngayo abalaleli bomculo lwasetshenziswa ukuhlola ukuthi bakhangekile yini labo balaleli bomculo, kwizincwaningo-zigameko zokulalelwa komculo, futhi lolu cwaningo lwasekela lwaphinda lwaqinisekisa ihayiphothesisi ethi ukukhanga komnkenenezo womculo kuncike ikakhulukazi kulokho okulindelwe ngumlaleli womculo njengombandela-ngqangi wokuheheka nokukhangeka kwakhe. Ucwaningo lusebenzisa futhi nokuzibandakanya komcwaningi (auto-ethnographic reflection) enqubweni yokubhalwa kwamaculo ukuze athole ulwazi olunzulu futhi aqondisise kahle amaqhingasu okuqamba izingoma ezidumile ezinomnkenenezo omnandi futhi okhangayo. Ukuzibandakanya enqubweni yokuqamba ingoma yomculo we-pop, kanye nokuyikhipha ukuze idlalwe emisakazweni, kuhlinzeka ngethuba eliyingqayizivele lokuqonda ngokujulile inqubo yokwenza umculo. Imiphumela yazo zonke lezi zincwaningo iyabonisa ukuthi umgomo wendlela-kuhumusha izinto ngokwalokho okulindelekile wumgomo osemqoka kakhulu ekufikelweni komuntu ngumuzwa wokukhangwa nokuhehwa ngumnkenenezo. / Zingantoni izandi ezimnandi zokuvuma ezivakalayo zomculo odumileyo okubangela ufune ukuwuphulaphula njalo njalo? Olu phononongo lomculo ngokwenkcazelo eyingcingane lusebenzisa imigaqo-siseko yemeko yengqondo iGestalt (Gestalt psychology) kunye neengcingane (theories) zokulindelweyo kufundo lwezandi ezinomtsalane okubambayo kumculo wenkulungwane yama-21 Ulwazi oluyingcamango engenabungqina oluhlolwe apha kukuba izandi ezimnandi zokuvuma ingoma ziyinto ebalulekileyo "ekubambeni lula". Ukubhalwa kunye nohlalutyo lweengoma ezenziwa ngabaculi abaphambili bokushicilela kusetyenziselwa ukuphonononga isiseko senowuthi ukusuka kwenye ukuya kwenye inowuthi ngokwezibambo zokuvakala kwezandi. Uhlalutyo lokushicilela luka-Adele, Carly Rae Jepsen, Pharrell Williams kunye noRobin Thicke kubonisa indlela izinto eziphindaphindwayo, zokuqheleka, zobulula, ukusombulula, nobumbolombini kwikhi kunye nokulindelweyo konke kunegalelo kumba wokutsalwa ubanmbeke emculweni. Uphononongo lokusabela komphulaphuli lwasetyenziswa ukuvavanya amava okufumana ifuthe lomtsalane kwizifundo zabucala, kwaye zihambelana nengcinga yokuba ukubamba kuxhomekeka ikakhulu kulindelo njengeyona nto iphambili. Olu phononongo lukwasebenzisa imbonakalo ezenzekelayo kwinkcazo yenzululwazi ngeentlanga kumsebenzi wokubhalwa kwengoma ukunika ukuqonda ngeendlela zokuyila ingoma ezimnandi ezidumileyo. Amava okuqamba ingoma ye-pop, kunye nokuyikhupha emoyeni, inika ingqiqo eyahlukileyo kwinkqubo yobugcisa. Iziphumo zazo zonke ezi zifundo zibonisa ukuba umgaqo-siseko wengcingane yokulindelweyo luphawu olubalulekileyo kakhulu kumava okubamba. / Art History, Visual Arts and Musicology / M. Mus. (Musicology)