This study presents a phenomenological enquiry of two professional music improvisers' perceived mental representations. The notion of perceived 'mental representations' are recognized as having a pedagogical importance in increasing the quality of a musical performance, yet its nature and roles in music learning remain poorly understood. Although they are generally seen as conscious and quasi-perceptual experiential phenomena involving the imagination of events, objects, and settings, music scholars have found 'mental representations' difficult to conceptualize due to the coexistence of its different names and definitions in the literature. Synonymous terms of 'mental representations' also feature in several phenomenological and psychological models of referent-based musical improvisation. These include the concepts of 'tonal imagery' (Pike, 1974), 'representational structures' (Clarke, 1988), and 'analytical representations' (Pressing, 1988). To address this gap, the present study seeks to conceptualize the nature, formation, and roles of mental representations in the context of the musical improvisation process. An overarching research question guided the study: What characterises the nature of improvisers' embodied perceived mental representations before, during, and after a thematic musical improvisation? The study's qualitative methodology is positioned in constructivism and draws on the theoretical thinking of Andreas C. Lehmann and Marc Leman. In particular, this study adopts Lehmann's (1997) theory of three necessary types of mental representations in an expert musical performance (1. the desired performance goal, 2. the production aspects, and 3. the actual performance) as a theoretical lens to understand how the improvisers' mental representations are used. In addition, Leman's (2010) framework of embodied approach to musical semantics is used to access and understand how the improvisers' mental representations are formed. The research design comprised two phenomenologically informed descriptive case studies of two professional improvisers. A central feature of this study's design was having the improvisers learn a given musical stimulus in order to trace the formation and development of their perceived mental representations before, during, and after their improvisations. In addition, a group of four methods was employed: semi-structured interviews, live musical performance, graphic elicitation, and observation. Data comprising interview quotes, thick descriptions, the improvisers' performances, and their drawings were first analysed separately, and then were brought together and interpreted using a framework informed by the theoretical works of Lehmann and Leman. The findings of the study are presented in a narrative across two descriptive case studies, showing how the mental representations from Lehmann's model, and Leman's six types of semantics are evidenced throughout the two improvisers' learning, ideation, improvisation, and reflection phases. In particular, the key findings presented four ways of meaning constructions during the improvisers' formation of their mental representations, and identified twelve types of goal, production, and reflection-based mental representations. Bringing the two cases together, the study concludes that the two professional improvisers' mental representations: (1) are multi-various in nature, (2) undergo progressive and distributive formations, and (3) take on multiple types of roles. In addition to pedagogical recommendations to music education, the study's methodological contribution lies in providing a reference point and common ground for locating and describing the different phenomena taking place during improvisation - 'mental representations' being just one of them.

Thesis (Ed. D.)--Lehigh University, 2004. / Includes vita. Includes bibliographical references (leaves 60-67).

<p> This research provides a guide to understanding, preparing, and performing Arnold Schoenberg&rsquo;s last completed opus, &ldquo;De Profundis&rdquo; (Psalm 130) Op. 50B, within the context of the Hebrew chant that inspired it and Schoenberg&rsquo;s other religious works, sketches, archival correspondence, and interviews with conductors. Theoretical and contextual analysis reveals significant discoveries relevant to an informed and accurate performance of the work. &ldquo;De Profundis&rdquo; embodies Schoenberg&rsquo;s mature and most flexible twelve-tone writing at the peak of his spiritual development. Op. 50B is a serial <i>a Cappella</i> composition scored for six-part mixed chorus with great rhythmic and melodic independence in the vocal lines, including soprano and baritone solos and choral <i>Sprechstimme</i>. A composer&rsquo;s final opus is generally regarded as his highest achievement, yet Op. 50, and in particular &ldquo;De Profundis,&rdquo; has received relatively little attention from music theorists or performers. While this research includes the traditional study of the composer and the score, there is also focus on distance learning through digital media and a symbolic interpretation of &ldquo;De Profundis&rdquo; that provides unique opportunities to engage the performer and audience. Through these efforts, others may be encouraged to hear and perform this beautiful work and to explore this unique method of rehearsing.</p>

No description available.

No description available.

This thesis considers the potential of using women's traditional folk songs as a primary resource in the context of women's educational programs in India. Listening to the voices of protest in women's ancient songs will not only keep women in touch with the long history of their struggle, but will also return worth and importance to the devalued oral narratives that have been the repositories of women's knowledge and experience for centuries. Education programs that grow out of the rich and varied material of folk songs will, by definition, deal with the issues that are repeatedly raised, like embroidered patterns, in the songs themselves. Family, love, child-rearing and the myriad problems of fulfilling personal desire within the confinements of patriarchy will all, under scrutiny, yield crucial subject matter for education programs. At the same time, spinning new folksongs out of old ones will challenge women to think critically, and with the creativity essential to reworking our cultures so that both women and men are able to realize themselves more wholly.

Thesis (Ed. D.)--Teachers College, Columbia University. / Typescript; issued also on microfilm. Sponsor: Ernest E. Harris. Dissertation Committee: Norval L. Church, Paul L. Essert. Bibliography: leaves [124]-135.

<p> The purpose of this study was to investigate principals&rsquo; perceptions of the status of music education in secondary schools in Trinidad and Tobago. The guiding questions were (a) What are secondary school principals&rsquo; perceptions of music learning outcomes as they are currently being met and as they should be met under ideal conditions, (b) What are secondary school principals&rsquo; perceptions of broad educational goals as they are currently being met and as they should be met under ideal conditions, (c) Is there a difference between principals&rsquo; perceptions of current and ideal conditions for the learning outcomes and the educational goals, and (d) What are secondary school principals&rsquo; perceptions about the degree to which eleven selected variables impact music education?</p><p> A descriptive research design was used in which secondary school principals (<i>n</i> = 93) were provided with the survey instrument. The survey is organized into four sections based on the questions that are derived from the research purpose and questions. Cronbach&rsquo;s alpha was used to test for internal consistency of the survey items. Data, related to the first two guiding questions, was fielded via Likert-type scales where the responses represented the principals&rsquo; perceptions of the level of realization of the standards for the music learning outcomes and the broad educational goals. For the third guiding question, data analyses included repeated <i> t</i>-tests and Cohen <i>d</i> value measurements to describe differences between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. A Spearman correlation was used to describe the consistency between the current and ideal perceived conditions of the realization of the standards for the music learning outcomes and the broad educational goals. Chi-squared analyses, on the two open-ended questions presented to the principals, were used to examine the differences in how principals perceive certain factors affect their ability to support music programs.</p><p> Results from the repeated <i>t</i>-tests showed that principals believe there is a difference between how the music learning outcomes and broad educational goals are currently being met and how they should be met, under ideal conditions. Chi-squared analyses revealed that there were moderately positive associations between the current and ideal conditions, with the music learning outcomes yielding <i>r_s</i> = .71 and the broad educational goals yielding <i>r_s</i> = .65.; however, results were statistically significant only for the broad educational goals.</p><p> Chi-squared analyses revealed that there were no significant differences in the ways principals perceived how 11 variables (a) Medium-Term Policy Framework 2011-2014, (b) Students, (c) Parents, (d) Budget/Finances, (e) Scheduling, (f) Standardized tests, (g) School Board, (h) Governing Office/Ministry of Education, (i) Music Teacher, (j) Classroom Teacher, and (k) Educational and Scientific Research were impacting the music programs. Results showed that the principals were mostly inclined to remain neutral about the effects of most of the variables and that they did not consider any of the variables to either strongly positively or strongly negatively affect the music program. </p>

<p> The horn is renowned for its contributions to traditional orchestral repertoire and concert hall performances. Since its induction into the symphony, its uses outside the concert hall have been diverse albeit comparatively sparse. However rare, its implementation still spans from the high arts, to world of pop, and to the avant-garde. In 1976, the haunting, sonorous timbre of Peter Gordon's legendary solo horn would inspire Jaco Pastorius to feature it on his titular album. This paper will analyze and define key nontraditional uses of the horn, discuss the effects of non-notated performance practice on the hornist, provide method studies for improving non-notated performance, and demonstrate how the horn's employment as a compositional, improvisational, and accompanimental instrument, independent of strictly notated music, will help hornists to best perform Jaco Pastorius's <i>Okonkole y Trompa</i>. </p><p>

<p> Teachers represent a large portion of professional voice users in the United States and the development of poor vocal health has related to their work. Elementary music educators are expected to use their voices in both speech and song and are vocally active for much of their workday. This study investigates elementary music teachers&rsquo; conceptualization of their voices, what personal and professional value teachers place upon their voices, and how vocal health may affect, support, or detract from their careers. </p><p> In this multiple case study conducted with three participants, a questionnaire addressed background demographics for the teacher and information regarding the music program. An interview collected more in depth data on thoughts and perceptions of voice use. Teachers completed the Voice Handicap Index and Singing Voice Handicap Index and each teacher was observed for one full workday. </p><p> Vocal professionalism and caring for the voice&rsquo;s professional use vary in definition and importance from teacher to teacher. Participants seem more conscious of their physical health than other aspects of professional vocal demand. Participants described themselves as vocal professionals while also engaging in behaviors which did not consistently support sustainable vocal health or hygiene. While each teacher viewed their voice as a professional tool, none had received training in the care of their voices, in what to do if their voice was injured, or in how to use their voices safely while teaching. Each teacher reported mild to no voice handicap on both the Voice Handicap Index and the Singing Voice Handicap Index. This may reflect some degree of label avoidance. </p><p> Teachers at the elementary level of music come from diverse backgrounds and teach in widely varying circumstances. Teachers may hold some information on vocal health but may not have been trained in how to use the voice while teaching and may develop habitual practices which are not conducive to a career of healthy vocal production. Increased attention is indicated for the populations who professionally use their voices in both speech and song.</p><p>