No description available.

SUMMARY: The diploma thesis deals with the life and work of an important pedagogue and music theoretician prof. PhDr. Eva Jenčková, CSc. It analyzes her present pedagogic, scientific and publishing activities, her efforts in the field of integrative music education and her contribution to education of music teachers by publishing of methodological materials and organizing various courses and seminars. The thesis is include an interview with Eva Jenčková, a photo attachment and research of her influence on musical practice.

The present state of listening activities in elementary school music lessons, and didactic suggestions for the integration of these activities in school teaching The thesis looks into the employment of listening activities at contemporary Czech schools. Its primary aim is to boost the motivation of school children to listen to classical music by means of choosing their preferred pieces in music lessons. The thesis consists of two parts, the theoretical part and the practical part. The theoretical part analyses available sources connected with listening activities, such as materials for teachers, and textbooks certified by the Ministry of Education, Youth and Sports as one of possible tools. It looks into the place of listening activities in the contemporary Czech curriculum, and presents also information about listening from the music therapy point of view. The practical part analyses the present situation in the employment of listening activities at our schools. It detects spontaneous preferences of pupils in listening to classical music, and suggests how to use these spontaneous preferences to enhance the quality of music education at school, and build and encourage positive attitude of school children to classical music. The practical part is based on the interview and experiment methods. The...

This portfolio of compositions and exegesis submitted for the degree of Master of Music in Composition, at the Elder Conservatorium of Music, comprises original creative works supported by a detailed commentary. The creative investigation has focused on ‘Composing for a Choral Spectrum.’ This was investigated through practical experiments in choral composition, designed to test the compositional limitations of the choral spectrum, and resulted in a portfolio of choral works. The portfolio includes: simple choral works for young children in one part; choral works for children in two parts; choral works for children in three parts; a choral work for teenage treble voices; a multimedia choral work for boys with changing voices with a moving image DVD; a choral work for male voices; choral works for adult female voices; a complex choral work for adult choirs of a professional standard; and a larger scale choral and orchestral work. The exegesis provides a commentary on the genesis, composition processes, limitations and solutions, for each original work included in the portfolio. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1345050 / Thesis (M.Mus.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators. / ART HIST, VIS ARTS & MUSIC / DLITT ET PHIL (MUSICOLOGY)

Colonialism in Africa had an impact on the indigenous peoples of Africa and this is shown in some of their games. The purpose of this study is to gain deeper insight into Basotho children's games and to demonstrate that the Western ideas of music and games are not necessarily the same as Basotho folk children's conceptions. The literature on Basotho children's games is reviewed though not much has been contributed by early and present Basotho writers who have generally approached it from the angle of literature without transcribing the songs. The Sesotho word for games (lipapali) embraces entertainment but a further investigation of it shows that aspects of learning of which the children were aware in some cases and in others they were not aware, are present. These are supported by musical examples and texts. The definition of play versus games is treated (with regard to infants and children) and these two concepts are still receiving constant attention and investigation by scholars and researchers as the words are synonymous and can be misleading. Infants' play is unorganised and spontaneous while games are organised structures. Furthermore, play and games are important in child development education. In this study, they are given attention in order to lay the foundation for the understanding and interpretation of games used in both cultures. It is a misconception that African children's games are accompanied with music in the Western sense. Hence, the word `music' in Sesotho children's games takes on a different connotation from those in the West. Music' in Sesotho children's games embraces not only tunes that are sung, but game verses chanted in a rhythmic manner as opposed to spoken verse. Yet, mino (music) exists in Sesotho and is equivalent to the Western idea. These chanted rhythms and games are analysed against the backdrop of specific cultural dimensions for children depending on the function of the game played. The results of this study indicated that though the idea of music in children's games is not the same, games are an educational in character building and learning. Recommendations are made for educationists and music educators. / ART HIST, VIS ARTS and MUSIC / DLITT ET PHIL (MUSICOLOGY)