Global ETD Search

51	Two Phenomena in Contemporary Music Education: Mental Toughness and the Law Sivill, Jason R. 05 July 2019 (has links) This collection of works involved examinations of two phenomena that currently impact music education in the United States and constitute challenges for both pre-service and in-service music educators. Article one is an exploration of college aged musicians, their experiences with critical commentary and stressful scenarios encountered in and through applied music studies, and the role that mental toughness might play in these experiences. This study examined the perceptions of college level studio teachers and their students. Results of the study indicated that significant differences in mental toughness scores existed between the studio teacher group and the students (as a whole) and between the studio teacher group and 5 of the 6 student groups. Significant negative correlations were found between students’ mental toughness scores and answers to three questions related to teacher criticism, student anxiety in lessons, and students’ frequency of hurt feelings following feedback about their performing. Article 2 examined the perceptions of in-service music educators regarding aspects of education law. Participants included music educators (N = 152; Mage = 41.7) from each of the 50 states whose teaching assignments occur primarily at the high school (grades 9 – 12) levels. Results indicated that these participants viewed their undergraduate teacher training programs, and graduate studies, as having included very low levels of legal content. Few of the participants indicated receiving additional education and training from a legal specialist, and taking part in sessions on legal topics offered by their school districts and professional associations. The legal issues receiving the greatest numbers of selections as having been experienced by the participants included 5 aspects of copyright law, religious music/lyrics in educational and performance material, and protection of student health (i.e., medical) information. The total number of legal issues selected was significantly correlated with the number of traveling groups (ensembles) with which the teachers were associated. Teachers of marching band indicated a greater number of total legal issues having been dealt with in their professional experience. And teachers of orchestra demonstrated fewer total numbers of legal issues experienced. In spite of the significant correlations, total expressions of relevant legal issues were largely unassociated with teachers of specific ensemble types. applied music copyright education law in-service music teachers mental toughness music education studio teachers post-secondary music studies undergraduate teacher training Other Education
52	Progress, Restoration, and the Life of Rock After Alternative Moon, Joshua D. 25 August 2015 (has links) No description available. Aesthetics Music Philosophy aesthetic theory rock music theodor adorno popular music studies progress smashing pumpkins mars volta white stripes rock and roll alternative rock philosophy
53	Symphonies of Horror: Musical Experimentation in Howard Shore's Work with David Cronenberg Shankar, Vikram A 10 August 2017 (has links) No description available. Music Film Studies david cronenberg howard shore the brood naked lunch the fly videodrome film composition film scoring experimentation experimental composition film studies film music studies musicology
54	Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica Popular Bellaviti, Sean 02 August 2013 (has links) This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries. The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites. Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations. music ethnomusicology Panama nationalism musical nationalism musica tipica popular pindin composition territory isthmus of Panama isthmian studies folk music folklore musica folklorica musica tipica Latin America dance music genre music style music economy popular music studies 0413
55	Negotiating Musical Style in Panama: Nationalism, Professionalism and the Invention of Música Típica Popular Bellaviti, Sean 02 August 2013 (has links) This dissertation provides both an historical outline and contemporary ethnographic account of the Panamanian musical practice called “música típica popular,” which is commonly understood in Panama to denote a specific kind of vernacular music that is widely embraced. By examining the social-historical processes, events and discourses that have contributed to the genre’s development, this study seeks to develop greater understanding of what I argue is this music’s particular and pronouncedly ambiguous relationship to prominent themes of Panamanian cultural nationalism. Specifically, I endeavour to show that early on in its history música típica popular epitomized Panama’s (liberalist-identified) national ethos of progressive modernity and cultural cosmopolitanism while at the same time maintaining alignments to specific territories and musical practices significant to Panamanian vernacular imaginaries. The historical outline covers música típica popular’s development beginning from the late nineteenth century to the present. Its focus is on the genre’s tandem commercialisation and massification, performance and production technologies and associated performance modalities, shared musical/sonic traits, repertoire and approaches to innovation through musical mixing or fusión (fusion). One of the central goals here is to trace and examine points of alignment between música típica popular and dominant paradigms governing isthmian geo-cultural self-identification—particularly the interplay between a rural-identified “vernacular” culture and the perceived urban cosmopolitanism of Panamanian metropolites. Through ethnographic research this study also aims to examine the various sonic, social and economic factors that contribute to notions of música típica popular as a particular socio-musical collectivity actively in dialogue with discourses of Panamanian national and cultural identity. To this end, notions of “genre” and “style” provide an analytical framework particularly for coming to terms with the interplay between sensibilities of convention and common practice, and a need for meaningful differentiation among practitioners. It is my contention that while música típica popular practitioners actively cultivate links both to themes of Panamanian music-cultural vernacularism and cosmopolitanism, on the whole the relationship of the genre to nationalist discourse should be more properly understood as one of sustained ambiguity: not wholly aligned to one theme or the other, and in fact doggedly and often productively resistant to such binary categorizations. music ethnomusicology Panama nationalism musical nationalism musica tipica popular pindin composition territory isthmus of Panama isthmian studies folk music folklore musica folklorica musica tipica Latin America dance music genre music style music economy popular music studies 0413
56	Drag Queens and Cowboys: Cultivating Queer Country Music through Postmodern Camp Hussain, Zamirah 29 August 2022 (has links) No description available. American Studies Gender Studies Glbt Studies country music queerness queer country music drag queens drag queen Dolly Parton Orville Peck postmodernism camp postmodern camp popular culture popular music music studies popular culture studies sexuality studies gay lesbian gender studies
57	Assosiasie en koördinasie van notasie met klawers by die ontwikkeling van 'n leesvermoë by die klavierbeginner Hesse, Maria Elizabetha 30 November 2005 (has links) The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts & Music / M.A. (Musicology) Association Keyboard Beginner Look ahead Beginners course Melodic patterns Directional reading Piano key Ensemble playing Rhythmic patterns Exercises Sight-reading First lesson Topography Intervals Visualisation Aanvangskursusse Lees en speel Akkoordpatrone Melodiese patrone Assosiasie Oefeninge Beginner Ritmepatrone Eerste les Samespel Innerlike voorstelling Speelrigtings Interval-afstand Topografie Klavierklawer Vooruitlees Klawerbord 781.423071
58	Assosiasie en koördinasie van notasie met klawers by die ontwikkeling van 'n leesvermoë by die klavierbeginner Hesse, Maria Elizabetha 30 November 2005 (has links) The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts and Music / M.A. (Musicology) Association Keyboard Beginner Look ahead Beginners course Melodic patterns Directional reading Piano key Ensemble playing Rhythmic patterns Exercises Sight-reading First lesson Topography Intervals Visualisation Aanvangskursusse Lees en speel Akkoordpatrone Melodiese patrone Assosiasie Oefeninge Beginner Ritmepatrone Eerste les Samespel Innerlike voorstelling Speelrigtings Interval-afstand Topografie Klavierklawer Vooruitlees Klawerbord 781.423071
59	The Secular is Divine, and the Divine is Secular - Black People's Experiences with and amongst Nature as Spiritual Praxis, as Preserved by Black Women Malik I Raymond (13171995) 29 July 2022 (has links) <p>This work looks at the intersections of nature, race, and spirituality in Black communities primarily situated in the United States from the early 20th century to the present day. These communties stories are interpreted through the Black women that lived in them, and their stories denote that Black folks' relationship with and amongst nature could not be had without spiritual praxes in their day-to-day lives. </p> Music performance Environmental history Gender history Histories of race History of religion Feminist and queer theory Gender relations Black Black Women Black Communities Spirituality Nature Outdoors Pastoral Religion Literature Art Paintings Song Dance Music Geography US South Rural Urban Black Queer Studies Eco-spirituality Womanism Ecowomanism Black Feminist Studies Music Studies Sound Studies
60	Music and the Making of a Civilized Society: Musical Life in Pre-Confederation Nova Scotia, 1815-1867 Boyd, Michelle 05 January 2012 (has links) The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada. 19th-century music Nova Scotia history 19th-century transatlantic music studies Maritime history 19th-century amateur music 19th-century Canada music history music social aspects 19th-century wind bands 19th-century sheet music publishing 19th-century piano building 19th-century music in rural communities community music music and society 19th-century Halifax, Nova Scotia choral societies 19th-century piano trade 19th-century music trade 19th-century music profession 19th-century Nova Scotia music music and character music and progress 0413 0334

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