This qualitative multiple-case study examined the pedagogical role that performance arts training played in the emergence of students’ mature artistic identities. As one of many instructors in the musical theatre program of a post-secondary college, the author fulfilled both the roles of researcher and studio music teacher. Multiple learning contexts were observed for eight first-year students; these contexts included the regimens in various artistic classrooms and in the vocal studio. The data comprised field observations from studio and classroom settings, individual interviews with eight students from the vocal studio, and audio recordings from their studio sessions. Data analysis revealed that the students’ construction of identity was positively impacted by: the “triple-threat” program components, the unique dyad relationship between the vocal studio teacher and her students, and the rigorous, professional training the students underwent. A study of the interactions amongst the disciplines of music, dance, and drama exhibited several implications in relation to the students’ acute identity experiences. Recommendations for improved musical theatre curricula centred on improved integration of the three disciplines, enhanced studio time, and greater skill development in the studio. Suggestions for future research in performance arts education were also offered. / Thesis (Master, Education) -- Queen's University, 2008-08-12 23:23:52.131

This study is an examination of Gerrit Dou’s Violin Player (1653, Liechtenstein, Vaduz Castle, Princely Collection). The painting is a visual testimony to Dou’s manual skills and trompe l’oeil manner of painting in his own innovative fijnschilder painting style. The composition incorporates and reinvents devices from a variety of sources from portraiture, genre painting, and emblem literature, such as the arched niche window framing the violinist. The work demonstrates the connection between music and painting in the relationship between the violinist and the background setting of an artist’s workshop. Through an iconographic analysis of works depicting the artist in the studio by Dou and his contemporaries the correlation between music playing and painting becomes evident. In this context, this relationship acts as an important device in fashioning the painter’s image as an elevated and scholarly artist and brings to light the power of music as a mode of inspiration for the painter in the studio. Additionally, tobacco smoking, which appears in many seventeenth-century Dutch self-portraits, in the context of the studio, was also perceived as an inspirational tool for the artist, thus contrasting with smoking in genre scenes of the lower classes as a symbol of waste and idleness. The work, similarly to other Dutch seventeenth-century paintings, is not a realistic representation but a cleverly constructed image that acts as an allegorical master deception for the amusement and entertainment of an educated, upper-class clientele. / Thesis (Master, Art History) -- Queen's University, 2008-09-24 23:56:10.869

Västberga Artistkolletiv (VAK), as a project, is an investigation into the self-image of my home town, Stockholm. It is a mapping of both the experienced and factual cultural scene in order to understand how and where an addition would be suitable. The end goal has been a physical building, a platform that strategically helps raising the creative potential of this city. The idea is to design a place dedicated to creating the best possible environment for recording live concerts, in regard to both audio and video. Hence, an acoustically perfected live venue for broadcasting and recording artists of various levels. The purpose is to provide a platform where they can grow, as well as spread their music and art. Furthermore, it is a meeting point for people, so experiencing a concert on site should not be regarded as less of a priority than the recorded material. On the larger scale the investigation aims to establish the link between the architecture - the venue, and the self-image of the city and its citizens, to see how they are nurturing each other. This is also a residential building, and a gathering spot for anyone that feels like they want to be a part of a creative environment, living inside a concert venue, while working on their own music or collaborating with the platform and radio station.

No description available.

Syftet med den här studien är att undersöka hur ett träningsprogram baserat på metoden Simultaneous Learning upplevs av lärare och elever. I bakgrundskapitlet beskrivs metoden som är skapad av Paul Harris och hur den förändrats över tid. Det finns endast lite tidigare forskning om metoden, på grund av att den är relativt ny, men den som hittats redogörs det för. Bakgrundskapitlet inkluderar också tidigare forskning om enskild musikundervisning och några viktiga problem som identifierats inom det området. Studien är en fallstudie där tre lärare, utan tidigare erfarenhet av Simultaneous Learning, fick delta i ett träningsprogram i metoden. Lärarna använde metoden i sin undervisning under 3-6 lektionstillfällen. Under datasamlingen intervjuades elever och lärare för att undersöka hur interventionen i form av träningsprogrammet upplevts. I resultatet framkommer att eleverna och lärarna upplevde skillnader, i form av till exempel nya moment i undervisningen såsom improvisation. De upplevde även att undervisningen efter träningsprogrammet påminde om den tidigare undervisningen. Det kan också lyftas fram att lärare upplevt att träningsprogrammet inom metoden gjorde det enklare att undervisa proaktivt. Ett sista relevant resultat var att elever uppskattade att momentet improvisation tillfördes i undervisningen. I diskussionen relateras studiens resultat till tidigare forskning samt till frågor kring hur olika perspektiv på lärande kan påverka synen på Simultaneous Learning som metod. Slutligen diskuteras hur Simultaneous Learning skulle kunna vidareutvecklas / The purpose of this study was to investigate how a training program based on Simultaneous Learning was perceived by teachers and students. In the background chapter the evolution of Simultaneous Learning, developed by Paul Harris, is traced. There is only little earlier research regarding the method since it is comparatively new. The research that was found is however presented. The background chapter also includes earlier research in the wider field of music-studio teaching, and the problems that have been identified within this style of teaching are presented. The study is a case-study where three teachers, with no prior experience with the method, participated in a training program and later proceeded to teach a selection of students with the method for between 3-6 lessons. To gather data semi-structured interviews with both the teachers and the students was conducted, to investigate how the intervention was perceived. Results show that both teachers and students noticed differences and similarities with their previous style of teaching. Some significant results include that teachers experienced that Simultaneous Learning was helpful in creating a pro-active teaching and students experienced the introduction of improvisation to the lesson as positive. In the discussion the results are related to earlier research and how different perspectives on the role of a teacher can affect how Simultaneous Learning is perceived as a valuable tool or not. Lastly, some suggestions on how the method could be further improved is suggested and discussed.

This diploma theses deals with the issues of music in movies. However, it is mainly focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.

This diploma theses deals with the issues of music in movies. However, it is also focused on the life of Varhan Orchestrovič Bauer, one of the temporary Czech film music composer. I approached his life through a biography and an interview. Then I developed the matters of film music upon his work. First, I discussed the historic point of view and than the practical one - three interviewees helped me with that. Futher, I described the process of recording in Smecky Music Studio and I also analysed two parts of soundtrack from the movie Against the Wild which was composed by Varhan Orchestrovič Bauer and demonstrated the use of film music in educational practice. Last but not least, the results of a questionare are introduced to show how people perceive film music and its composers.