Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4030. Adviser: William Kinderman. Includes bibliographical references (leaves 261-272) Available on microfilm from Pro Quest Information and Learning.

Syftet med denna studie är att ta reda på vad oboelärare på musik- och kulturskolor har för erfarenheter kring sina elevers motivation att spela oboe. I bakgrundskapitlet presenteras en beskrivning av instrumentet oboe följt av en beskrivning av musik- och kulturskolans framväxt i Sverige under 1900-talet och en kort beskrivning av motivationsteorier genom historien. Tidigare forskning som presenteras berör studier kring elevers motivation att spela musikinstrument och elevens sociala relationers betydelse för motivationen. Motivationsteorier som används är Maslows behovstrappa samt yttre och inre motivation. Studien har en interpretativistik kunskapsteori och genom det fenomenologiska perspektivet används begreppen livsvärld och intersubjektivitet. Forskningsmetoden är semistrukturerade intervjuer med fyra oboelärare som arbetar på musik- eller kulturskolor i Sverige. Intervjuerna analyserades genom en tematisk analysmetod. Resultatet presenterar fyra olika områden som oboelärarna erfar påverkar deras elevers motivation; varför elever blir motiverade att spela oboe och varför elever tappar motivationen till att spela oboe, oboens specifika förutsättningar, material och moment som används i undervisningen och betydelsen av sociala relationer för elevens motivation. Avslutningsvis presenteras en diskussion mellan resultatet och tidigare nämnd forskning, teorier och litteratur. / The purpose of this study is to find out what oboe teachers in the community school of music and art have for experiences around their students' motivation to play oboe. The background chapter presents a description of the instrument oboe followed by a description of the growth the community school of music and art in Sweden during the 20th century and a brief description of motivation theories throughout history. Previous research that is presented concerns studies on students' motivation to play musical instruments and the student's social relations' significance for motivation. Motivation theories used are Maslow's ladder of needs as well as external and internal motivation. The study has an interpretivist theory of knowledge and through the phenomenological perspective the concepts of life world and intersubjectivity are used. The research method is semi-structured interviews with four oboe teachers who work at the community school of music and art in Sweden. The interviews were analyzed using a thematic analysis method. The results present four different areas that the oboe teachers experience affect their students' motivation; why students are motivated to play oboe and why students lose motivation, the oboe's specific conditions, materials and elements used in teaching and the importance of social relations for the student's motivation. Finally, a discussion is presented between the results and the previously mentioned research, theories and literature.

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This practice-based research is concerned with a collection of fixed media compositions written between 2005 and 2012 with accompanying contextual writing. The primary focus of this research was to produce sound works, but the concept of place has played a significant role throughout both the compositional process and in the reflection of each composition. This research explores how place is ‘heard and felt’ (Feld, 2005) in a composition and how recollected memory impacts on the compositional process. Artistic decisions made with regard to creating the compositions reflect my personal place and associations with these sound materials at a given time whether they are field recordings or synthesised materials. The way in which sound material is subsequently processed and structured reflects this. Place and the compositional practice inform each other in a two-way process. This results in what Katharine Norman (2010) has referred to in her writing on sound art as an ‘autoethnographic’ journey; a representation of the creator’s personal experience. I have begun to reflect on these compositions as art works that represent a particular time or place. The artwork represents the trace of the place from which it was composed (Corringham, 2010). I believe that I cannot totally transport a person to my place; rather, I intend this creative representation to enable the listener to create and inspire their own narrative.

Thesis (Ph. D.)--Ohio State University, 2008.

Denna studies syfte är att kartlägga förekomsten av fysiska besvär hos tvärflöjtlärare på Sveriges kommunala musik- och kulturskolor samt deras kunskap om, användning av och undervisning om ergonomi och förebyggande av skador. De frågeställningar som tas upp i arbetet är hur vanligt förekommande det är med fysiska besvär bland tvärflöjtlärare, huruvida de har fått adekvat ergonomikunskap för den profession de utövar, om de arbetar med förebyggande åtgärder mot fysiska besvär och i vilken utsträckning de inkluderar ergonomi i sin undervisning. Studien är en kvantitativ surveyundersökning och den genomfördes i form av en webb-enkät. Resultatet visar att 49 % av de tillfrågade tvärflöjtlärarna lider av fysiska besvär som de kopplar till tvärflöjtspelet. Besvären sitter framförallt i axlar, nacke/hals och rygg. 60 % av tvärflöjtlärarna arbetar med förebyggande åtgärder mot fysiska besvär, varav de vanligaste vardagliga åtgärderna handlar om att ta regelbundna pauser under tvärflöjtspelet och att regelbundet utöva någon fysisk träningsform. De vanligaste ergonomiska momenten som lärare tar upp med sina elever är övningsrutiner, kropps- och instrumenthållning, stretch- och avslappningsövningar samt vikten av fysisk träning. Resultatet visar även att många tvärflöjtlärare skulle vilja eller behöva bättre kunskaper om ergonomi eftersom musikutbildningar generellt förbereder musiker dåligt på de kroppsliga utmaningar som yrkeslivet innebär. I slutdiskussionen poängteras även att sjukvården behöver få bättre kunskap om musikerskador för att dessa ska kunna förhindras och botas, och att musiklärares arbetsvillkor måste uppmärksammas för att antalet skador ska kunna minimeras. / The purpose of this study is to map the occurrence of physical ailments among flute teachers in Swedish community schools of music and art, as well as their knowledge of, their use of and their teaching in ergonomics and injury prevention. The questions raised are how commonly occurring physical ailments are among flute teachers, whether or not they have received adequate knowledge in ergonomics for the profession they practice, if they work with preventive measures against physical ailments and to what extent they include ergonomics in their teaching. The study is a quantitative survey in the form of a web questionnaire. The results show that 49 % of the surveyed flute teachers suffer from physical ailments, which they connect to flute playing. The problems are mainly located in the shoulders, the neck and the back. 60 % of the flute teachers work with preventive measures against physical ailments, of which the most common everyday actions are regular breaks during flute practice and physical exercise on a regular basis. The most common ergonomic factors that teachers communicate to their pupils are practice routines, body posture, instrumental grip, stretching and relaxation exercises and the importance of physical training. The results also show that many flute teachers would want or need better knowledge of ergonomics, because music education generally prepares musicians poorly for the physical challenges of the professional life. In the concluding discussion is emphasized that healthcare needs to be better informed of musicians’ injuries for these to be prevented and cured, and music teachers’ working conditions require attention to minimize the number of injuries.

Syftet med studien är att i relation till musik- och kulturskolornas verksamhetsidéer/planer få insikt i elbaslärares förhållningssätt till vad som är viktigt för nybörjarelever att lära sig. Utifrån detta syfte är avsikten att försöka förstå vilka lektionsmoment elbaslärare prioriterar i sin undervisning av nybörjarelever, varför de valt att fokusera på just dessa och deras syn på eventuella styrdokument för respektive arbetsplats. Jag har i min undersökning genomfört kvalitativa intervjuer med fyra elbaslärare från olika musik- och kulturskolor. Arbetets har sin utgångspunkt i historiska perspektiv på musikkulturskolornas framväxt och de pedagogiska traditioner som format dem samt det sociokulturella perspektivet på lärande.   I resultatet framkommer att det viktigaste för informanterna är att eleven får komma igång och spela så snabbt som möjligt och att den huvudsakliga drivkraften i nybörjarundervisning för elbaselever är lust, glädje och upplevelser – vilket går helt i linje med mycket av de tendenser som behandlas i forskning rörande musik- och kulturskolan samt dess verksamhetsplaner under senare år.   Under diskussionsrubriken diskuteras informanternas syn på vad de tycker är viktigt för nybörjarelever att lära sig i relation till de traditioner, idéer och värderingar som enligt det sociokulturella perspektivet styr hur undervisningen formas. Utöver detta diskuteras musiklärarnas förhållningssätt till rådande styrdokument och deras respektive arbetsplats verksamhetsplan. / The purpose of this study is, in relation to the activity ideas/plans of community schools of music and art, to gain insight into the electric bass teachers approach to what is important for beginners to learn. From this view, the intention is to try to understand which lesson content is prioritized in the teaching of beginners, why they chose to focus on these and their views on possible regulatory documents for each workplace. In my survey I have conducted qualitative interviews with four bass guitar teachers from various community schools of music and art. Work is based on theories of the emergence of community schools of music, the educational traditions that shaped them and the sociocultural perspective on learning.   The results show that the main driving force of beginners teaching for bass guitar students is desire, joy and experiences – which is in line with much of the trends covered in research on community schools of music and art and their activity plans in recent years.   In the discussion section the views on what informants thinks is important for beginners to learn is discussed in relation to the traditions, ideas and values according to previous research which determines how the lessons are shaped. In addition to this the music teacher's attitudes and relations to current regulatory documents at their respective workplace is discussed.

Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.

Antoni Gaudi was the architect of the Sagrada Familia from 1883 to 1926. Over this period of time he prepared the overall design and supervised the construction of the Nativity facade. One of Gaudi's main design objectives was to include tubular bells in the tall slender towers. It has been said that through his sound studies for these bells, Gaudi developed his musical sentiments most fully. Through the sound of bells, accompanied by song, he imagined a festive environment around the temple. These considerations might be seen as reflecting the overall spirit of the time, as Catalonia was in effect experiencing a cultural rebirth known as the Renaixenca . Originating with the call of the poets, this time of exuberant growth for Catalonia was one that was built upon the rebirth of language. As a result, language through poetry continued to be celebrated throughout the century, particularly through annual poetic contests called the Jocs Florals. This paper studies the facade of the Nativity as a expression of this culturally exuberant time by exploring how the Jocs Florals, and poetry in general, may have played a role in shaping its form and sound. The study also acknowledges the fact that Gaudi's inspiration for his design was derived from symbolism associated with the Catholic liturgy. The result is architecture that might be described as a union of religious and cultural symbolism, yet ultimately its festive expression is a poetic one. As such, the Sagrada Familia might be described as a celebration that is a call to gathering.