<p>The 1930s to 1940s saw an upsurge in nationalism and the quest to define American identity. The federal government sponsored and sanctioned a specific nationalist narrative within the programs of the Works Progress Administration, later renamed Works Projects Administration. Very little attention has been paid to the Federal Music Project (FMP) yet this program was an integral part of constructing American identity both nationally and regionally. In conjunction with popular music, and at times in opposition to it, the FMP formed the “soundtrack” of American life. </p> <p>Although the messages were not as overt as those in other programs, such as the Federal Writers’ Project or Federal Theatre Project, the Federal Music Project played a large part in disseminating American ideals and identity, primarily through classical music, and to a lesser extent, popular, folk, and indigenous forms of music. The Federal Music Project strove to uncover, and at times create, America’s “genuine” musical heritage. The ideals of the New Deal took root in the musical expression of the FMP and impacted the development of American identity both musically and socially. It was not merely a relief program for those on its rolls; it was intended as an education program for the nation. Amid the push and pull of politics, war, and class conflict, American musicians forged and defined a unique style of music that was accepted by the American public.</p> The dissertation focuses on the FMP activities in the Midwest, or Region IV. Focusing on the Midwest as a region demonstrates how the FMP was interpreted and practiced and allows for a conversation with other the reginal studies of the FMP. Three case studies of Indiana, Illinois, and Michigan provide a more detailed analysis of the activities and contributions of each state, and thus the region, offering depth over breadth. Each of these states had dedicated and active symphonies, teaching projects, community outreach, radio broadcasting, and music therapy projects.

Thesis (M.M.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains vi, 118 p. Includes abstract. Includes bibliographical references (p. 114-118).

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This study is an examination of how a music education that is run by a NGO, Non Governmental Organisation, in South Africa works. The organisation Arkwork for Art NPC, and their artistic programme Access Music Project, AMP, based in Grahamstown in Eastern Cape province, works as an case study. This study shows what different opportunities and challenges are of the work with the project and describes who the young participants enrolled in the project are and how they experience the music education. Further more this work explore the relationship between music education and social justice. Information was gathered through qualitative semi-structured interviews with the participants and project founder and leadership of the project. Partly information also was gathered through unstructured observations. The result shows that Arkwork for Art is filling an important gap where the government lack resources to offer music education for youth in marginalised communities. The organisation struggle with many things, most difficult for them is to get stable funding. AMP have many big future plans and want for instance to change the curriculum of music education in the future. My examination shows that the participants are very satisfied to be a part of AMP and that the project has an important role in their lifes and the community where they are based.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The initiation and establishment of community music projects have been increasing in number in South Africa in the last decade due to the growing interest in these projects’ beneficial outcomes. Music education, music activities and a myriad of opportunities through music are provided to under-privileged communities who would otherwise be deprived thereof. The Redefine Music Education Project is a community music project situated in Kuils River and which draws learners from local impoverished communities and townships. The efficient management of project, staff and learner commitment, and community involvement has resulted in various project and learner achievements. However, it has also undergone several setbacks and faces frequent challenges. Due to the Redefine Music Education Project’s success rate and sustained years of operation, it is considered as one of the Western Cape’s reputable community music projects. This research study sets out by evaluating the need and role of a community music project in disadvantaged communities as well as describing the qualities that make a community music project successful. The research uncovered the impact that such a project has on the individual and on local communities in the Western Cape. A noteworthy result of the study is the fact that it serves as guidance and motivation to other operating and upcoming community music projects. It also provides and opens further opportunities of study and research regarding music in the community. / Die inisiëring en vestiging van gemeenskaps-musiekprojekte het in die laaste dekade in Suid-Afrika toegeneem vanweë die groeiende belangstelling in die voordelige uitkomste van hierdie projekte. Hierdie projekte bied musiekopvoeding, musiekaktiwiteite en ontsluit geleenthede deur musiek aan minder bevoorregde gemeenskappe wat andersins nie daarmee in aanraking sou kom nie. Die Redefine Music Education Project is 'n gemeenskaps-musiekprojek geleë in Kuilsrivier. Die projek staan grootliks in diens van leerders uit plaaslike verarmde gemeenskappe en townships. Die doeltreffende bestuur van die projek, personeel en leerder-toewyding, en gemeenskapsbetrokkenheid het verskeie projek- en leerderprestasies tot gevolg gehad. Die projek het egter ook verskeie terugslae ervaar en staar voortdurende uitdagings in die gesig. As gevolg van die Redefine Music Education Project se suksesse en die hoeveelheid jare wat dit reeds bestaan, word dit gereken as een van die Wes-Kaap se maatgewende gemeenskaps-musiekprojekte. Hierdie navorsing evalueer die behoefte aan en rol van 'n gemeenskaps-musiekprojek in minder bevoorregde gemeenskape. Dit ondersoek ook die kwaliteite wat so 'n projek help om suksesvol te wees. Die navorsing toon uiteindelik ook die impak wat so 'n projek op individue en op plaaslike gemeenskappe in die Wes-Kaap het. 'n Betekenisvolle resultaat van die studie is dat dit as gids en motivering dien vir ander huidige en toekomstige gemeenskaps-musiekprojekte. Dit beskryf ook verdere geleenthede vir studie en navorsing ten opsigte van musiek in die gemeenskap.

Poptimism is a school of contemporary popular music criticism characterized by its rejection of the notion of the “guilty pleasure” and traditions within rock journalism called “rockism.” Through an examination of poptimist writing, particularly Carl Wilson’s “Céline project” (which resulted in a book, Céline Dion’s Let’s Talk About Love: A Journey to the End of Taste) and material on musician Stephin Merritt’s comments at the Experience Music Project Pop Conference in 2006, trends emerge: efforts at combating elitism and promoting populism are belied by practices associated with high levels of cultural capital. These tendencies are examined from three angles. First, following Johan Fornäs, poptimist attitudes toward authenticity and reflexivity are considered. In their treatment of musical texts, poptimists reject rockist notions of authenticity while failing to account for consumers’ need for genuineness. Their grasp of reflexivity is greater when it comes to reception; Wilson’s project, an exercise in self-scrutiny for elitist bias via an attempt to appreciate the music of Céline Dion, shows the significance of reflexivity for poptimism. Second, poptimists’ approach to identity and difference is considered. Commentary on Merritt, who was accused of racism due to his admitted dislike of certain African-American artists and genres, is typical: oversimplified models of hegemony undermine deep concern about identity politics. Poptimists’ advocacy of omnivorous consumption as an anti-elitist strategy is flawed: using intellectual approaches and spurning the middlebrow are practices associated with high cultural capital. This strategy seems to lead to co-optation rather than real change. Third, poptimism’s relationship to value and emotion is analyzed. Poptimists have doubts about value judgments given traditional aesthetics’ hierarchical baggage, yet value judgments are critics’ raison d’être. Poptimism’s rejection of guilty pleasure and Wilson’s “guilty displeasure” concept link aesthetics to affect. Poptimists approach emotion inconsistently, embracing it when convenient but subjecting it to doubt and intellectualization when it seems to support elitism. Like many poptimist strategies, populist ideas motivate this approach, but it emulates hegemonic traditions. / text

Qualitative research was conducted in order to explore the generation of social and musical capital through music therapy sessions and musical activities with youths attending the Redefine Community Music Project in the Western Cape. This study was conducted from the perspective of Wood‟s Matrix Model (2006) of music therapy where different interlinking musical activities in a range of contexts are shown to extend the benefits of individual music therapy. Data were gathered through conducting a case study with one of the ensemble groups in the Redefine Community Music Project. This group attended music therapy sessions, and the members of the group took part in ensemble rehearsals in preparation for the bi-annual public performance. Data were analysed through using Ansdell and Pavlicevic‟s (2001) method of qualitative content analysis, as well as the analytic technique of open coding proposed by Gibbs (2007). The findings suggest that the multi-faceted format of the Matrix Model of music therapy (Wood, 2006), as reflected in the socio-musical networks of the Redefine Community Music Project, offered participants enhanced opportunities to generate social and musical capital. By facilitating diverse opportunities for musicing in various contexts, participants were enabled to accrue a broad range of social and musical capital with which to create valuable relationships to the self and with others. It is suggested that music therapists and community musicians wishing to facilitate the generation of social capital through music flexibly adapt their practices to the socio-musical needs of the communities in which they work and offer diverse formats of musicing in which social and musical capital may be generated. In this manner individuals and communities may be empowered to cultivate relationships of diverse value in a creative way. / Dissertation (MMus)--University of Pretoria, 2012. / Music / unrestricted

This theses consists of four chapters. The first chapter presents life and work of Václav Jan Tomášek and characterizes the historical context. The second chapter deals with practical use of his compositions for students at music schools and also brings to light songs of Tomášek which can be used in chamber music education. The third chapter deals with music project as a modern concept in education. Fourth chapter describes music survey and its evaluation. This work schould provide deeper knowledge about Czech music composer V. J. K. Tomášek and his piano work.