Heavy Metal is a peculiar music genre, made by fans for fans, which spread throughout the entire planet and became, over its five decades of existence, a global community as well. These aspects of Heavy Metal make it a very interesting phenomenon to study. Heavy Metal has previously been researched with a micro outlook on its local connotations in several different Global South countries, analyzing one at a time. As far as the whole Global Metal community is concerned, to this day, there seems to be no literature that is based on the Global South perspective, but only on the Western one. As it has not been attempted to study Global Metal with a macro outlook and to take a broader perspective on it, this research employs a larger view on the Global South’s point of view on Metal culture. Therefore this study aims at giving possible explanations about the reasons behind Heavy Metal worldwide spread. Results will show how further Heavy Metal reception studies on Global South metalheads should be approached through the lens of the Cosmopolitan paradigm; how the metalheads of the sample tend to indicate Death Metal as the most spread sub-genre and to describe themselves as open minded and tolerant. This research helps showing a slight tendency of metalheads to consider themselves part of a Global community, which is defined more like a family, underlining their inclination towards cosmopolitanism. Finally it will show how there should be a broader study on the sense making of well-known songs to determine whether or not there is a certain degree of similar interpretation across different cultures.

This thesis discusses the life and work of the eighteenth-century French composer, Julie Pinel. Pinel’s extant music comprises one collection of music, Nouveau recueil d’airs sérieux et à boire à une et deux voix, de Brunettes à 2 dessus, scène pastorale, et cantatille avec accompagnement, published in 1737, of which a critical edition has been produced in volume II of this thesis. There is little information regarding Pinel’s life and work, however, the preface and privilège included in her Nouveau recueil provide some clues as to Pinel’s biography. Her life and music are examined, with reference to the social, literary and musical environment she was working in. An added dimension is that Pinel was working as a professional musicienne at a time when women were beginning to find their voice and place in professional society. Pinel claims authorship of the majority of the poems in her collection, and the rest come from anonymous sources. Pinel’s literary and musical output illustrates her obvious knowledge of the current trends in eighteenth-century France, with most of her poetry written for a female poetic voice, displaying many of the fashionable themes of the day. Her music displays a variety of styles, ranging from simple airs in binary form, traditionally found in most French airs sérieux et à boire, to the operatic, and the fashionable rococo styles.

Since the late 1970s much interest has been shown in the development of electric guitar technique. Advances have been considerable, enabling players to explore new genres and repertoires but development methodologies have remained woefully fragmented. A new approach that sets out to promote electric guitar technique with development methodology is the purpose of this study. To this end, a process of transcription combined with an advanced technical analysis has been undertaken including a full categorization of the technical subgroups extant within each Caprice. The hypothesis behind this task has been to ascertain whether a ‘technical essence’ could be discovered in the Caprices and how that could be imparted in the process of transcription. Transcribing the 24 Caprices for the electric guitar disclosed the technical components required for development which were then reduced to their constitute elements. The virtuosity and variation within the Caprices ensured that the each identified technique was developed to a high degree. The subjective nature of transcription ensured that multiple solutions were explored when a single solution to a technical problem was not obvious. The analysis section of the study demonstrated that three fundamental techniques were required to play all 24 Caprices: alternate-picking, sweep-picking, and hammer-ons and pull-offs. The analyses also provided trends showing how each technique needed to be developed to comprehensively cover all twenty-four pieces. In conclusion, the hypothesis was found to be correct.

This thesis seeks to describe the indigenous realities, meanings, and perspectives that are central to the music and dance practices of the Lak (Siar) people in Southern New Ireland, Papua Now Guinea. The insights recorded here are those gained through the experience of twenty-three months living in Rei and Siar villages as a participant in many aspects of Lak social life. The music and dance practices of the region are examined in the context of the wider social and cultural setting. Lak performance realities, are indivisible from kinship structures, ritual proceedings and spirituality. By contextualising Lak music and dance within the frame of the extensive and socially defining mortuary, rites my intention is to show how music and dance not only reflect but also create Lak realities. By examining the ethnographic materials relating to music, dance and performance in the context of mortuary sequence broader elements of Lak society are brought into focus. In these pages I argue that Lak society is reproduced literally and symbolically in these performances.

This pilot study examined the effects of single sessions of music therapy on the level of anxiety in older persons with psychiatric disorders. The studied intervention was a 30 minute music therapy group and the control intervention was a verbal therapeutic intervention in the form of a reminiscence group. Participants acted as their own control. The measurement tool was the state part of a “State Trait Anxiety Inventory”. It was administered a total of four times, pre- and post- the music therapy intervention and preand post- the reminiscence therapy (control) group. A total of 9 participants were recruited for the study. The results indicated that single sessions of music therapy significantly reduced the level of anxiety for older persons with psychiatric disorders [t(8)=4.626, p<0.0017] as compared to the control intervention as measured by the state part of the “State Trait Anxiety Inventory”. There was no evidence for a significant carryover effect since the baselines prior to each intervention did not differ significantly (p=0.55). These results can be considered to be a part of a pilot study and early inquiry into this field since methodological difficulties and the time limitation of the research resulted in some necessary deviations from the original protocol. A major limitation of the study was the choice of a measurement tool, which required the client to be cognitively high functioning. Thus these results are limited to cognitively able clients, which is a relatively small proportion of this client group that could potentially benefit from music therapy. It is suggested that for future research with this client group the measured variable be physical relaxation, rather than anxiety.

Audio files not uploaded onto institutional repository due to copyright restrictions: Hayes, T. & Clark, T. The New York sessions. / Tubby (Edward Brian) Hayes; prodigious self taught multi-instrumentalist and virtuoso tenor saxophone player has been proclaimed by some to be the best saxophonist that Britain has ever produced: "Indisputably the most accomplished and characterful British jazzman of his generation." His career, although cut short (he died undergoing treatment for a heart condition in June 1973, aged 38) was perpetually intense, incredibly prolific, and non-stop from his debut at the age of fifteen until his premature death. Hayes was proficient on many instruments; all saxophones, clarinet, flute, violin and vibraphone as well as being an accomplished bandleader and arranger. However it was his virtuoso tenor saxophone playing that found him acclaim. Although well known in his time and widely renowned for his ability, Hayes until recently has been little studied. It is only in the last few years that many critics and students of jazz have attempted to gain an understanding of Hayes' improvisational concept, which has been both praised as genius and criticised as directionless: Tubby Hayes has often been lionized as the greatest saxophonist Britain ever produced. He is a fascinating but problematical player. Having put together a big, rumbustious tone and a delivery that features sixteenth notes spilling impetuously out of the horn, Hayes often left a solo full of brilliant loose ends and ingenious runs that led nowhere in particular... However, Hayes, his legacy, and his inimitable style of tenor saxophone playing would truly leave their mark on the British Jazz community for generations to come. Dave Gelly summed up Hayes by saying that Tubby "played Cockney tenor - garrulous, pugnacious, never at a loss for a word and completely unstoppable."

Esta pesquisa foi desenvolvida dentro da temática sobre motivação para aprender música e teve como objetivo geral investigar a interação entre os fatores individuais e ambientais que motivam os alunos para continuar seus estudos em música fora da escola. Segundo a literatura, os fatores individuais referem-se às crenças, às percepções e às características pessoais dos alunos, enquanto os fatores ambientais relacionam-se às experiências em determinado local e momento de vida, bem como com as interações estabelecidas com as pessoas desse ambiente. Como objetivos específicos, esta pesquisa verificou o papel do ambiente (pais, família, professores, pares e contexto escolar) e investigou os fatores individuais (metas e autoconceito) que possuem relação com a motivação para continuar os estudos em música fora da escola. O referencial teórico adotado foi o modelo de motivação em música (HALLAM, 2002, 2005, 2006), pois contempla a interação entre os dois tipos de fatores: individuais e ambientais. O método utilizado foi o estudo de entrevistas, com alunos das séries finais do ensino fundamental que possuíam aula de música na escola desde as séries iniciais e que optaram por estudar música fora da escola após a quinta série. Apoiada na literatura da educação e da educação musical, esta pesquisa justifica-se pela possibilidade de compreender tanto os diferentes fatores envolvidos na interação entre o indivíduo e o ambiente durante a aprendizagem musical quanto a maneira pela qual esses fatores incentivam o aluno a continuar os estudos em música. Os resultados apontaram para uma forte relação entre os fatores individuais e ambientais e para a correspondência entre a motivação para aprender música dentro da escola e a motivação para continuar os estudos em música fora da escola. Esses resultados poderão colaborar para o aprimoramento pedagógico dos professores de música, além de permitir reflexões e oferecer subsídios que possam melhorar a motivação dos alunos para aprender música, dentro e fora da escola. / This research is about motivation to learn music. Its general aim was to investigate the interaction between individual and environmental factors which motivate students to continue their studies in music outside school. According to literature, individual factors refer to students’ beliefs, perceptions and personal characteristics, whilst environmental factors are related to life experiences in some places and at some times, as well as the interaction with others. The specific aims to this research was to verify the role of environment (parents, family, teachers, peers and school context), as well as investigate individual factors (goals and self-concept about abilities) in students’ choice in continuing to learn music outside school. The theoretical framework adopted was the model of motivation in music (Hallam, 2002, 2005, 2006), because it considers the interactions between individual and environmental factors. The method chosen was the interview study, with middle school students who attended music classes at school since first cycle of fundamental education, and opted to study music outside school after the fifth grade. Based both on the education and the music education literature, the reason of this research is the possibility of understanding not only the different factors involved in the interaction between the individual and the environment during the musical learning, but also the way these factors motivate the student to continue studying music. The results of this research revealed a close link between individual and environmental factors. Moreover, data showed the relation between motivation to learn music inside school and motivation to continue music outside school.

Esta pesquisa foi desenvolvida dentro da temática sobre motivação para aprender música e teve como objetivo geral investigar a interação entre os fatores individuais e ambientais que motivam os alunos para continuar seus estudos em música fora da escola. Segundo a literatura, os fatores individuais referem-se às crenças, às percepções e às características pessoais dos alunos, enquanto os fatores ambientais relacionam-se às experiências em determinado local e momento de vida, bem como com as interações estabelecidas com as pessoas desse ambiente. Como objetivos específicos, esta pesquisa verificou o papel do ambiente (pais, família, professores, pares e contexto escolar) e investigou os fatores individuais (metas e autoconceito) que possuem relação com a motivação para continuar os estudos em música fora da escola. O referencial teórico adotado foi o modelo de motivação em música (HALLAM, 2002, 2005, 2006), pois contempla a interação entre os dois tipos de fatores: individuais e ambientais. O método utilizado foi o estudo de entrevistas, com alunos das séries finais do ensino fundamental que possuíam aula de música na escola desde as séries iniciais e que optaram por estudar música fora da escola após a quinta série. Apoiada na literatura da educação e da educação musical, esta pesquisa justifica-se pela possibilidade de compreender tanto os diferentes fatores envolvidos na interação entre o indivíduo e o ambiente durante a aprendizagem musical quanto a maneira pela qual esses fatores incentivam o aluno a continuar os estudos em música. Os resultados apontaram para uma forte relação entre os fatores individuais e ambientais e para a correspondência entre a motivação para aprender música dentro da escola e a motivação para continuar os estudos em música fora da escola. Esses resultados poderão colaborar para o aprimoramento pedagógico dos professores de música, além de permitir reflexões e oferecer subsídios que possam melhorar a motivação dos alunos para aprender música, dentro e fora da escola. / This research is about motivation to learn music. Its general aim was to investigate the interaction between individual and environmental factors which motivate students to continue their studies in music outside school. According to literature, individual factors refer to students’ beliefs, perceptions and personal characteristics, whilst environmental factors are related to life experiences in some places and at some times, as well as the interaction with others. The specific aims to this research was to verify the role of environment (parents, family, teachers, peers and school context), as well as investigate individual factors (goals and self-concept about abilities) in students’ choice in continuing to learn music outside school. The theoretical framework adopted was the model of motivation in music (Hallam, 2002, 2005, 2006), because it considers the interactions between individual and environmental factors. The method chosen was the interview study, with middle school students who attended music classes at school since first cycle of fundamental education, and opted to study music outside school after the fifth grade. Based both on the education and the music education literature, the reason of this research is the possibility of understanding not only the different factors involved in the interaction between the individual and the environment during the musical learning, but also the way these factors motivate the student to continue studying music. The results of this research revealed a close link between individual and environmental factors. Moreover, data showed the relation between motivation to learn music inside school and motivation to continue music outside school.

L’œuvre du poète autrichien Georg Trakl (1887-1914) passe pour incontournable dans le contexte de création littéraire d’avant-guerre. Mais comparativement à sa portée expressionniste, la dimension intermédiale est peu mise en avant alors que la musique connaît dans cette poésie des formes de médiation originales. Il est donc question d’approcher la manière dont la musique est indirectement intégrée dans le texte trakléen. En faisant le choix d’élargir cette investigation de type musico-littéraire à l’ensemble de la création des années 1910-1925, il est également question d’élaborer une vision de l’époque moderne où la musique occupe, notamment en peinture, une place de choix dans les pratiques interartistiques. / The work of the Austrian poet Georg Trakl (1887-1914) is said to be essential in the context of creative writing before the war. But compared to his expressionist reach, intermedial dimension is not put forward whereas music features in this poetry original forms of mediation. It is therefore a question of approaching how music is indirectly included in the literary work of Trakl.By choosing to expand the investigation of musico-literary type the whole of creation 1910-1925 years, it is also about developing a vision of the modern era where the music plays, including painting, a first-order part in the interartistic practices.

Esta pesquisa foi desenvolvida dentro da temática sobre motivação para aprender música e teve como objetivo geral investigar a interação entre os fatores individuais e ambientais que motivam os alunos para continuar seus estudos em música fora da escola. Segundo a literatura, os fatores individuais referem-se às crenças, às percepções e às características pessoais dos alunos, enquanto os fatores ambientais relacionam-se às experiências em determinado local e momento de vida, bem como com as interações estabelecidas com as pessoas desse ambiente. Como objetivos específicos, esta pesquisa verificou o papel do ambiente (pais, família, professores, pares e contexto escolar) e investigou os fatores individuais (metas e autoconceito) que possuem relação com a motivação para continuar os estudos em música fora da escola. O referencial teórico adotado foi o modelo de motivação em música (HALLAM, 2002, 2005, 2006), pois contempla a interação entre os dois tipos de fatores: individuais e ambientais. O método utilizado foi o estudo de entrevistas, com alunos das séries finais do ensino fundamental que possuíam aula de música na escola desde as séries iniciais e que optaram por estudar música fora da escola após a quinta série. Apoiada na literatura da educação e da educação musical, esta pesquisa justifica-se pela possibilidade de compreender tanto os diferentes fatores envolvidos na interação entre o indivíduo e o ambiente durante a aprendizagem musical quanto a maneira pela qual esses fatores incentivam o aluno a continuar os estudos em música. Os resultados apontaram para uma forte relação entre os fatores individuais e ambientais e para a correspondência entre a motivação para aprender música dentro da escola e a motivação para continuar os estudos em música fora da escola. Esses resultados poderão colaborar para o aprimoramento pedagógico dos professores de música, além de permitir reflexões e oferecer subsídios que possam melhorar a motivação dos alunos para aprender música, dentro e fora da escola. / This research is about motivation to learn music. Its general aim was to investigate the interaction between individual and environmental factors which motivate students to continue their studies in music outside school. According to literature, individual factors refer to students’ beliefs, perceptions and personal characteristics, whilst environmental factors are related to life experiences in some places and at some times, as well as the interaction with others. The specific aims to this research was to verify the role of environment (parents, family, teachers, peers and school context), as well as investigate individual factors (goals and self-concept about abilities) in students’ choice in continuing to learn music outside school. The theoretical framework adopted was the model of motivation in music (Hallam, 2002, 2005, 2006), because it considers the interactions between individual and environmental factors. The method chosen was the interview study, with middle school students who attended music classes at school since first cycle of fundamental education, and opted to study music outside school after the fifth grade. Based both on the education and the music education literature, the reason of this research is the possibility of understanding not only the different factors involved in the interaction between the individual and the environment during the musical learning, but also the way these factors motivate the student to continue studying music. The results of this research revealed a close link between individual and environmental factors. Moreover, data showed the relation between motivation to learn music inside school and motivation to continue music outside school.