Information received during interviews with fifteen prominent choral directors, ministers and laymen of different communities end questionnaire responses from thirty of fifty churches of the San Joaquin Presbytery of tho Presbyterian Church, U.S.A., indicates almost unanimously that there is a growing need. and also a growing awakening among the youth of the church for participation in church musical activities. For many years churches, large and small, have been struggling with the difficult problems of providing satisfactory musical experiences for both the adults and the youth in the churches of various denominations. For the large churches, with large budgets at their command, the matter is simplified by the hiring of paid singers and competent directors at good salaries. In the case of the smaller churches, the duties of furnishing music for various services and special programs usually fall to a local music instructor, and interested layman, the wife of the minister, or perhaps the minister himself. In some cases there is a small monthly remuneration, but in many cases the work done is a matter of donated time and labor on the part of the director. Much has been discussed as to the reasons for the lack of interest shown by the young people of various denominations in the musical life of the churches, but little practical information can be found to remedy the situation. In a conference with Dr. Clair Morrow, moderators of the Synod of California and Minister of the First Church of Fresno, and Leonard Ballmer, Moderators of the San Joaquin Presbytery, it was felt that such a study should take place in order to evaluate and compare the Youth Music Program at the First Church in Fresno with the other churches in the Presbytery.

The goal of this thesis is to provide the ideological and practical foundation for an improved approach to undergraduate theory and musicianship pedagogy. I will discuss the structure of conventional theory programs and explore problems inherent to traditional curriculum design. Problem-solving pedagogy, an approach rooted in creative composition and improvisation, will be presented as a complement to traditional theory pedagogy. Balancing problem-solving pedagogy with a more traditional pedagogical approach will provide a practical foundation for improving undergraduate theory and musicianship curricula.

The purpose of this essey is to investigate whether and if so how women's separatist music rooms can create an extended acting space for female musicians. To do this, I have conducted an interview study of organizers and former music participants at the organizations Popkollo and Femtastic. The analytical discussions is held with the theoretical approach of Judith Butler's "heterosexual matrix" and Cecilia Björck's interpretation of Michel Foucault's "The gender disciplinary gaze". The results show that the main reason to choose women's separatist music room has been a longing to ”take place” and to ”get to the be yourself". Furthermore, the results show that the room enabled a liberation from outsiders ideal images of the "mild" and "fragile" female musician, whereupon more expressive positions was made possible. The study also reveald a dilemma in a balance to be liberated, but at the same time adapt to popular music gender-coded ideals. Furthermore the results show that in this context it is sometimes perceived as disfavouring to be coded as both a female artist and a feminist. This is because of the tendency to be seen and treated as a homogenous group with a common political agenda. Finally, I note, however, that women's separatist music room at least can create possibilities for an extended acting space as the informants has expressed a development both personally and musically.

Made available in DSpace on 2016-06-02T19:39:02Z (GMT). No. of bitstreams: 1 2344.pdf: 10544774 bytes, checksum: 93725fbde8755139e67f8bd4a9be77d6 (MD5) Previous issue date: 2009-02-27 / Financiadora de Estudos e Projetos / This Master s Dissertation introduces a dialogue between music and dance languages in a collective music practice context, more specifically in a community orchestra. With this purpose, the researcher, dancer and dance educator shares her own experiences in the field of Music Education and discusses the interaction developed with some members of the Experimental Orchestra of the Federal University of São Carlos (São Paulo state). The aim of this research is to discuss how experiences and reflections of dance activities can contribute for self perception, perception of the other and perception of music practice in order to benefit humanizing Education. The research includes eight movement themes related to the Choreological study proposed by Preston-Dunlop. They are: Body - whole and parts; Space kinesphere; Space octahedron; Space Shape; Space Projection; Dynamics Time; Dynamics Weight; and Relationships. The interaction meetings included experiences and reflections of dance activities. The methodological approach for the interaction was the context-based Art in Education/ Dance which articulates authors as Paulo Freire and Rudolf Laban main references in this research as well as Fiori, Gainza, Kater, Koellreutter and Marques. Results discuss the speeches from conversation circles proposed at the end of each interaction meeting. Presented in a discursive way, results include the researchereducator s reflections articulated with theoretical references, and point out the contributions of this process for self perception, perception of the other and perception of music collective practice. / Esta dissertação de mestrado apresenta um diálogo entre as linguagens da música e da dança em contexto de prática musical coletiva, mais especificamente em uma orquestra comunitária. Para isso a pesquisadora, dançarina e educadora de dança compartilha suas experiências de inserção na Educação Musical e discute o processo de intervenção realizado com alguns integrantes da Orquestra Experimental da UFSCar Universidade Federal de São Carlos (SP) no primeiro semestre de 2008. A investigação qualitativa teve como objetivo discutir como a vivência e reflexão de atividades em dança podem contribuir para a percepção de si mesmo, do outro e do significado da prática musical em contexto de Orquestra Comunitária de modo a se constituir em uma Educação Humanizadora. A pesquisa aborda sete elementos do movimento relacionados ao estudo coreológico do movimento proposto por Valerie Preston-Dunlop. São eles: Corpo - partes e todo, Espaço - kinesfera, Espaço - Octaedro, Espaço Forma, Espaço - Projeção, Dinâmica -Tempo e Dinâmica - Peso. Estes temas foram selecionados pela pesquisadora a partir da sua inserção no campo onde teve oportunidade de identificar interfaces relevantes para a prática musical do grupo envolvido. Os encontros para intervenção incluíram vivência e reflexão de atividades de dança. Como base metodológica da intervenção foi adotada a Metodologia de Ensino Arte no Contexto/ Dança, que articula autores como Paulo Freire e Rudolf Laban referências centrais deste trabalho, bem como Fiori, Gainza, Kater, Koellreutter e Marques. Os procedimentos utilizados para registro dos dados foram diário de campo e filmagem. Os resultados discutem as falas presentes nas rodas de conversa propostas ao final de cada encontro de intervenção. Apresentados de forma discursiva, trazem reflexões da educadora-pesquisadora à luz do referencial teórico abordado ao longo do trabalho e apontam as contribuições desse processo para percepção de si mesmo, do outro e da prática musical coletiva.

This work implements a prototype of a music practice tool, and evaluates alignment methods in an audio matching scenario required for it. By two interviews with piano teachers, we investigated the user demands towards a music performance practice tool that incorporates an alignment technique between a shorter practice segment and a reference performance, from a jazz and classical music point of view. Regarding technical aspects, we studied how Deep Learning (DL) based signal representations compare to standard manually tailored features in the alignment task. Experiments were conducted using a well-known alignment algorithm on a piano dataset. The dataset had manually annotated beat positions which was used for evaluation. We found the traditional features to be superior compared with the DL based signal representations when used independently. We also found that the DL based signal representations, on their own, were insufficient for our test cases. However we found that the DL representations contained valuable information. Multiple test cases demonstrated that the combination of DL representations and traditional representations outperformed all other considered approaches. We also did experiments using deadpan midi renditions as references instead of actual performances, in which we got slight, but insignificant improvement in alignment performance. Finally, the prototype was implemented as a website, using a traditional signal representation as input to the alignment algorithm. / Detta arbete implementerar en prototyp av ett musikövningsverktyg och utvärderar ljudjusteringssmetoder som krävs för det. Användarkraven för verktyget undersöktes genom två intervjuer med pianolärare och fokuserade på ljudmatchning mellan en kort övningsinspelning och en referensinspelning, fokuserat på jazz och klassisk musik. De tekniska aspekterna inkluderade en jämförelse mellan djupinlärningsbaserade signalrepresentationer och traditionella manuellt anpassade funktioner i ljudmatchningsuppgiften. Experiment utfördes på ett pianodataset med en välkänd ljudjusterings algoritm, anpassad för ljudmatchning. Datasetet hade manuellt annoterade taktpositioner som användes för utvärdering. Vi fann att de traditionella funktionerna var överlägsna jämfört med djupinlärningsbaserade signalrepresentationer när de användes ensamma. Vi fann också att djupinlärningsbaserade-baserade signalrepresentationer, ensamma, var otillräckliga för våra testfall. Dock upptäckte vi att de djupinlärningsbaserade representationerna innehöll värdefull information. Flera testfall visade att kombinationen av djupinlärnings-representationer och traditionella representationer överträffade alla andra övervägda metoder. Test med midi-renderade inspelningar som referenser visade en svag, men insignifikant förbättring i prestanda. Slutligen implementerades en prototyp av övningsverktyget som en webbplats, med en traditionell signalrepresentation som inmatning till matchningsalgoritmen.

For centuries, Arabic music has been intrinsically linked to Arab culture and by extension bonded to the environmental landscape of the region, reflecting their emotions, moods, and behaviors. Numerous technological advancements in the latter half of the twentieth century, have greatly affected the rich legacy of Arabic music, significantly impacting the natural progression of traditional Arabic musical genres, scales, and instrumentation. This thesis serves as an introduction to generative methods of music production, specifically music generated through gestures. Through generative music, and its unique ability to map gestures to different musical parameters, music can be produced using computer algorithms. The outcome of this thesis aims to demystify the intricacies of recent technological advancements to enable the musician and the audience to incorporate responsive technology into their ensembles. This approach aims to further evolve Arabic music, using the concepts of Arabic music creativity while addressing international accessibility through integration. The intention of this thesis is to bridge between the contemporary and the traditional Arabic audiences and provides insight into a possible future of Arabic music based on its own fundamental principles.