The diploma thesis Brass music today - performation, function, reception is focused on brass music in historic-cultural analysis with overhang into form which can be seen nowadays. As a fundamental research method is chosen the method of qualitative and quantitative field research, which author answers the designated research questions. Diploma thesis is set into historic-cultural development of the brass music phenomenon, in order to provide comprehensive view on the examined subject.

I denna uppsats undersöks habitus påverkan på vilken slags festival människor väljer att besöka och varför. Med dagens stora utbud av festivaler och det nya festivallandskapet som har växt fram de senaste åren finns det något för alla som är intresserade. Syftet är att med hjälp av kvalitativa intervjuer försöka definiera vad det är som gör en festival intressant för vissa och helt ointressant för andra och hur detta kan kopplas samman med Bourdieus teori om habitus. För att stärka teorin används även två av Bourdieus andra teorier inom det sociologiska fältet, symboliskt kapital och det sociala fältet. Studien har visat att informanternas intresse för musik och för att besöka festivaler startade när de var unga. Med åren har deras habitus förändrats och vad man vill få ut av en festival i vuxen ålder skiljer sig från vad som ansågs viktigt när man var yngre. Tydliga exempel är att man vill sova gott och att man inte vill ”vara fast” på ett festivalområde. Därför har stadsfestivalerna blivit ett alternativ för många. Dock finns det grundläggande syftet till varför man besöker en festival kvar även i vuxen ålder; man vill höra musik och njuta av stämningen. Detta är något som inte är begränsat till vilken festival man besöker utan styrs av smak och sociala grupper. När det finns både campingfestivaler och stadsfestivaler ges individen möjlighet att välja och det finns något för alla som vill besöka festivaler. Uppsatsen ligger inom det musiksociologiska forskningsområdet och tar upp frågor gällande interaktionen mellan personer, deras habitus och deras festivalupplevelser. Tillsammans bildar de ett forskningsområde som inte har berörts tidigare.

La presente investigación aborda el proceso y desarrollo de los festivales musicales en el Perú que presentan propuestas del género tropical en su programación. Dentro de estas propuestas tropicales, se busca dar mayor énfasis a la inclusión de nuevas agrupaciones provenientes de la fusión de cumbia con rock, que son agrupaciones de una escena formada desde fines del 2000 y que actualmente están trabajando en el constante crecimiento de su marca, público, puesta en escena, marketing, entre otros aspectos. El objetivo general de esta investigación es averiguar el nivel de difusión que genera la participación de estas nuevas agrupaciones en festivales nacionales. Para ello, se mostrará un marco teórico y conceptual del festival de música y el desarrollo de conciertos en Perú de 2007 hasta 2019, mostrando que existe un aumento en la oferta de festivales musicales entre 2014 y 2019. Asimismo, se realizará un breve repaso del desarrollo de las agrupaciones del género tropical en el Perú hasta llegar a las agrupaciones consideradas en esta investigación como las nuevas propuestas musicales del género tropical; es importante mencionar que se abordará su formación, comunicación, estrategias de marketing, análisis musical, puesta en escena y su participación en festivales nacionales. Posterior a esto, se realiza un acercamiento a la relación entre festivales y agrupaciones proponiendo, por un lado, conocer qué cosas están buscando los programadores de festivales para decidir que agrupaciones convocarán y, por otro lado, saber si las agrupaciones están dispuestas o pueden acercarse a cumplir estos requisitos; para darle mayor profundidad a este tema se presenta el caso de cuatro agrupaciones tropicales. Finalmente, se presenta un análisis del resultado de una encuesta realizada a personas que asisten a festivales de música para conocer su percepción como público respecto a los festivales y a las nuevas propuestas del género tropical. / The present investigation addresses the process and development of music festivals in Peru that present proposals of the tropical genre in their programming. Within these musical proposals, it seeks to give greater emphasis to the inclusion of new groups from the fusion of cumbia with rock, which are groups from a scene formed in late 2000 and which are currently working on the constant growth of their brand, audience, staging, marketing, among other aspects. The general objective of this investigation is to find out the level of diffusion generated by the participation of these new groups in national festivals. To do this, a theoretical and conceptual framework of music festival and the development of concerts in Peru from 2007 to 2019 will be shown, showing that there is an increase in the offer of musical festivals between 2014 and 2019. Also, a brief revision will be made, from the development of tropical genre groups in Peru until reaching the groups considered in this investigation as the new musical proposals of the tropical genre; it is important to mention that their formation, communication, marketing strategies, musical analysis, staging and their participation in national festivals will be addressed. After this, an approach to the relationship between festivals and groups is made, proposing, in one hand, to know what things festivals programmers are looking for to decide which groups will call and, on the other hand, to know if the groups are willing or able to approach compliance these requirements; to give more depth to this topic, the case of four tropical groups is presented. Finally, an analysis of the results of a survey to people who attends music festivals is presented to find out their perception as a public regarding festivals and new proposals of the tropical genre. / Tesis

Since the implementation and achievement score pressures of the No Child Left Behind Act of 2001, elective course offerings such as music have been drastically reduced, especially in the middle school setting. A great deal of correlational research has shown a positive correlation between music education in school and students’ overall academic achievement. This study examined the correlation between those middle school students that participated in the District Concert Band Music Performance Assessment (MPA) versus those middle school students that did not regarding their achievement scores on the 2016 English language arts (ELA) and mathematics subtests of the Florida Standards Assessments (FSA). The theoretical framework of this study was undergirded by Howard Gardner’s theory of multiple intelligences. The researcher used a non-experimental ex post facto research design for the collection of the study’s data. The results indicated that there was a positive, statistically significant difference between both the ELA and mathematics achievement scores of those students that participated in the MPA and those that did not. There was also a positive, statistically significant difference between both the ELA and mathematics achievement scores of those students that participated in the MPA and the level of music their band performed. However, there was not a statistically significant difference between both the ELA and mathematics achievement scores of those students that performed at the MPA and the final overall rating that their band received. School administrators are charged with the responsibility of ensuring that effective programs are instituted in their schools so their students can be successful. The results of this quantitative non-experimental ex post facto study could provide administrators additional research-based evidence suggesting that band on the middle-school level, which is a branch of music education, could be a program to include in the school’s curriculum because it might positively contribute to the school’s ELA and mathematics achievement and academic culture. Additional research can also be conducted to observe the effects of music study on student achievement for students of all grade levels and socioeconomics. This would lead school administrators to continue practicing the notion of educating the whole child while making administrative decisions, which should be the sine qua non of education.

Thesis (M.A.)--Indiana University, 2010. / Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).

The thesis deals with problems of choirs in Jihlava city. There are two parts. The first one encompass history of choral singing and music in Jihlava including master singing, Jihlava´s music after 30-year war and the history of the city itself. The second part contains music festivals such as MAHLER JIHLAVA, The Choir Festival and the present-date choirs which organize performances for the public. This part reveals questions given to Jihlava´s choirmasters, concerning their choirs and festivals, particularly The Choir Festival which is the one of the most prestige national festival and which mingles with the present-day choirs in part. The main aim of the thesis is to find out the influence of The Choir Festival on the choral life in Jihlava.

Each year people are injured and even die in crowd related accidents, often during planned events. Recent studies have emphasized the need for using a systems approach to study these events. In this study the systems approach of resilience theory is combined with the crowd psychology-models Extended Social Identity Model and the Aggravation and Mitigation Model to examine event safety at a music festival, a domain previously largely unexplored by these perspectives. By using an ethnographic approach as well as interviewing visitors the study set out to answer questions about when and how the safety organization adjusted itself under conditions relating to crowds. Another goal was to study the social identity of the visitors as well as the interaction between the safety organization and the visitors at the festival to explain the presence or absence of crowd conflict. Using thematic analysis several situations were identified where the safety organization adjusted itself, as well as the strategies that the organization used in these different circumstances. It was also concluded that the absence of crowd conflict could best be explained by three factors. First of all, no history of crowd conflict existed between the safety organization and the visitors, secondly, there were no groups present with the goal of creating conflict, and thirdly, the social processes taking place between the safety organization and the visitors were all mitigating in nature. The mitigating nature of the social processes was partly attributable to the strategies identified for adjusting to crowd conditions.

Indiana University-Purdue University Indianapolis (IUPUI) / My thesis examines the ways in which female performance poets deliver their messages and how those messages inspire, affirm, and encourage their audiences. From the traditions of outsider art—Beat poetry, feminist poetry, jazz, folk, punk, and rap—feminist performance poets choose the public sphere as a platform to witness to social injustices. In naming inequality, these poets challenge patriarchal foundations of gender roles, question academia’s criteria as to what constitutes “good” poetry, and expose social injustices. In this thesis, I examine the work of feminist performance poets Ani Difranco, Alix Olson, Andrea Gibson, Ursula Rucker, and Jessica Care Moore as examples of a new way of reading. Their work is significant in that they continue the tradition of feminist poetry by challenging the patriarchal status quo through a re-socializing and accessible style. Their work allows audiences to commune together in shared experience and promotes social change by demystifying cultural norms and gender codes in order to expose the exclusivity in patriarchal ideologies. These poets draw on a woman-centered spirituality, subvert misogynistic feminine archetypes, pay homage to ancestors and foremothers, and address issues of the body—naming oppression yet making room for pleasure.