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This study was made, first, to compile the prerequisites and requirements for a master's degree in music from sixty-two of the colleges and universities of the National Association of Schools of Music; second, to compare the standards found from the observation of these data with those requirements at North Texas State Teachers College; third, to secure such information as would be useful in improving the graduate curriculum in the Department of Music at North Texas State Teachers College. It is the further aim of this investigation to aid any student interested in advanced study in any field of music to determine which college or university offers the most appropriate curriculum for his present need. This is the first study, as far as the investigator knows, ever made of this particular problem.

The diploma thesis is focused on the development of interpretation of violin playing at the advanced level at music schools. The aim of the thesis is to go through different periods of music development and to deepen the quality of means of reproduction and develop basic principles of interpretation in advanced students on the basis of several selected compositions. Another objective is to handle the practising process of each composition creatively. The work is oriented practically and may become useful for violin teachers and advanced students. The problems connected with violin playing are treated from the point of view of performance. The teaching process goes from imagination to realization where the technical skills are means for the realization of imagination and, simultaneously, the final performance is a great deal influenced by the player's technical skills. Also, the possibilities how to develop musical imagination and accomplish successful realization of the process mentioned above are discussed. The central themes of the thesis are the development of interpretation of violin playing and the problems connected with it, both theoretical and practical. A scheme for the teaching process is defined and the possible ways of application of the scheme during practice are shown on examples of...

The aim of the study was to find out how working conditions in different music schools and schools of arts are, or has been, for teachers on oboe and bassoon, and how the conditions may affect the regrowth of these instruments. The interviews were performed with teachers on bassoon and oboe; two active teachers and one former teacher. Experience shows that it can be difficult to recruit these instruments to orchestra courses for young people. An assumption was made in the study that the conditions for these instruments in the schools of music and arts are not the best, which was indicative of the survey. The results of the study show that the interviewed teachers on these instruments struggle with a whole series of problems such as poor facilities, too short teaching time, few students that require many hourly based employments and many time consuming journeys. It also shows that adaption has occurred to different conditions on different schools where also the recruiting of students works differently. The problem can be traced to scarce financial resources, absence of a national structure for music development or principals with indifference, ignorance or lack of mandate from the politics to take responsibility for a good qualitative development that leads to diversity and a vibrant music scene. / Syftet med studien har varit att ta reda på hur arbetsförhållanden på olika musik- och kulturskolor, där några pedagoger verkar eller ha verkat, påverkar återväxten för instrumenten oboe och fagott. Intervjuer har genomförts med två aktiva pedagoger och en före detta pedagog. Erfarenheter visar att det kan vara svårt att rektytera dessa instrument till orkesterkurser för unga. Ett antagande gjordes i studien att förutsättningarna på musik- och kulturskolorna för dessa instrument inte är det bästa vilket var vägledande för undersökningen. Resultatet av studien visar att intervjuade pedagoger på dessa instrument brottas med en hel rad problem såsom dåliga lokaler, för kort undervisningstid, få elever som kräver många olika timanställningar och många tidskrävande resor. Den visar också att anpassning har skett till olika förhållanden på olika skolor där även rekryteringen ser olika ut. Problematiken kan härledas till för knappa ekonomiska resurser, avsaknaden av en nationell struktur för musikens utveckling, eller chefers ointresse, okunskap eller avsaknad av uppdrag från politiskt håll att ta ansvar för en god kvalitativ utveckling som leder till mångfald och ett levande musikliv.

In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry. / Dissertation (MMus)--University of Pretoria, 2011. / Music / Unrestricted

The purpose of this survey is to evaluate the contribution that the Westminster Choir movement has made to choral music in the United States today. It is hoped after the contributions have been stated by the investigator that the important position Westminster Choir College is occupying will be better understood.

[ES] La autonomía y prestigio que han ido adquiriendo las bandas de música en la sociedad actual son tan merecidos como frutos de un largo y costoso camino recorrido. Incluso el acceso a las plantillas profesionales se ha ido adaptando a la propia idiosincrasia de la banda, exigiendo interpretar en las pruebas de acceso fragmentos del repertorio original para banda, algo que se ha intensificado en la especialidad de tuba en los últimos años. No obstante, parece ser que ni la metodología ni la formación ofrecida en los centros educativos sigue el ritmo de esta realidad cambiante, a lo que se añade un interés creciente de los compositores desde finales del siglo XX por otorgarle a la tuba mayor protagonismo, escribiéndole solos y otros pasajes destacados dentro de sus obras para banda sinfónica. Y para comprobarlo, este trabajo presenta dos estudios principales. El primero, está dedicado a analizar el acceso a una banda de música profesional en España para la especialidad de tuba, con especial interés en el repertorio exigido para interpretar en el ejercicio práctico. Y el segundo estudio, se plantea para examinar el Plan de Estudios de las Enseñanzas Artísticas Superiores de Música y la Guías Docentes de los conservatorios y escuelas superiores de música, así como el trabajo que desarrollan en el aula de tuba los profesores, respecto del repertorio sinfónico-bandístico. Los resultados de ambos motivan la realización de un tercer estudio, basado en la selección, justificación y análisis de fragmentos destacados de la tuba dentro del repertorio sinfónico para banda, los cuales se presentan como propuesta pedagógica en un capítulo complementario a la propia investigación. El objetivo del conjunto de esta tesis es seguir valorando y difundiendo el repertorio para banda sinfónica en general, y en la especialidad de tuba en particular, ante la discordante e injustificable realidad acaecida hasta la actualidad entre el ámbito académico y el laboral. Además, si lo que se persigue es conseguir futuros profesionales de la música completos y versátiles, deben estar totalmente preparados para un mundo tan competitivo y exigente como el que se vive. / [CA] L'autonomia i el prestigi que han anat adquirint les bandes de música a la societat actual són tan merescuts com fruits d'un llarg i costós camí recorregut. Fins i tot l'accés a les plantilles professionals s'ha anat adaptant a la pròpia idiosincràsia de la banda, exigint interpretar a les proves d'accés fragments del repertori original per a banda, cosa que s'ha intensificat en l'especialitat de tuba els darrers anys. No obstant això, sembla que ni la metodologia ni la formació oferida als centres educatius segueix el ritme d'aquesta realitat canviant, a la qual cosa s'afegeix un interès creixent dels compositors des de finals del segle XX per atorgar-li a la tuba més protagonisme, escrivint-li solos i altres passatges destacats dins de les seues obres per a banda simfònica. I per comprovar-ho, aquest treball presenta dos estudis principals. El primer, està dedicat a analitzar l'accés a una banda de música professional a Espanya per a l'especialitat de tuba, amb un interès especial en el repertori exigit per interpretar en l'exercici pràctic. I el segon estudi, es planteja per examinar el Pla d'Estudis dels Ensenyaments Artístics Superiors de Música i les Guies Docents dels conservatoris i escoles superiors de música, així com el treball desenvolupat a l'aula de tuba pels professors, respecte del repertori simfònic-bandístic. Els resultats de tots dos motiven la realització d'un tercer estudi, basat en la selecció, justificació i l'anàlisi de fragments destacats de la tuba del repertori simfònic per a banda, els quals es presenten com a proposta pedagògica en un capítol complementari a la pròpia investigació. L'objectiu del conjunt d'aquesta tesi és continuar valorant i difonent el repertori per a banda simfònica en general, i en l'especialitat de tuba en particular, davant de la discordant i injustificable realitat esdevinguda fins avui entre l'àmbit acadèmic i el laboral. A més, si el que es vol és aconseguir futurs professionals de la música complets i versàtils, han d'estar totalment preparats per a un món tan competitiu i exigent com el que es viu. / [EN] The autonomy and prestige that wind bands have been acquiring in today's society are as well-deserved as the fruits of a long and arduous journey. Even access to professional staff has been adapted to the band's idiosyncrasies, demanding to play excerpts from the original repertoire for wind band in the auditions, something that has intensified for tuba in recent years. However, it seems that neither the methodology nor the training offered in educational centres keeps pace with this changing reality. In addition, composers have been interested since the end of the 20th century in giving the tuba greater prominence, writing solo passages and other outstanding excerpts within his/her works for symphonic bands. Furthermore, to prove it, this work presents two primary studies. The first is dedicated to analysing the access to a professional wind band in Spain for the tuba chair, with a particular interest in the repertoire required to play in the practical exercise. Moreover, the second study is proposed to examine the Syllabus of the Higher Artistic Education of Music and the Teaching Guides of the conservatories and higher schools of music, as well as the work developed in the tuba class regarding the specific repertoire for symphonic wind band. The results of both motivate the realisation of a third study, based on the selection, justification and analysis of significant excerpts for tuba of the symphonic repertoire for wind band, which are presented as a pedagogical proposal in a complementary chapter to the research itself. This thesis aims to continue valuing and disseminating the repertoire for symphonic wind bands in general, and for tuba in particular, in the face of the harsh and unjustifiable reality that has occurred until now between the academic and labour spheres. In addition, if what is sought is to achieve complete and versatile future professional musicians, they must be fully prepared for a world as competitive and demanding as the one we live in. / Monteagudo Mañas, J. (2022). La evolución del papel de la tuba en la banda sinfónica: selección, justificación y análisis de fragmentos destacados para una propuesta de aplicación pedagógica [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/191450