After teaching music in several high schools for a number of years, and observing the lack of continuity in assembly programs, the writer became interested in developing a program of music which would more adequately function in the high school assembly.

"The purpose of this thesis is to compare the musical background prior to college of one-hundred music majors and one-hundred non-music majors made up of students from each department." leaf 1

It is the purpose of this thesis to present an evaluated list of instrumental methods in order that'this material may serve as a useful and beneficial guide toward the selection of methods for the students and teachers of stringed, woodwind, brass and percussion instruments.

The presence of musically deficient children in the music classes of elementary public schools is a well-known and a widespread situation. The problem of this study was to determine which of two methods of giving special attention to such pupils would be the more successful in assisting them to improve musically.

Research Report Master of Arts in Digital Animation (Coursework and Research Report) University of the Witwatersrand Faculty of Humanities The Wits School of Arts June 2017 / Even though a significant amount of research has been conducted over the years on film music and animation, these two fields of academic study mostly developed independently from each other. Little attention has been given to these two fields in terms of how they are deployed together, particularly after the ‘Golden Age’ of Hollywood filmmaking. This study, from an animation perspective, contributes to this need for research with an investigation and eventual proposition that will elucidate and advance the integration and contemporary deployment practices and processes of music and character animation. The aim of the study was to identify and suggest the ideal musical competency set a character animator would benefit from and, to propose an approach for notation in which these competencies are used to digitally animate characters moving to the beat of pre-recorded music for a 3D animation feature-length film. A qualitative research approach was followed and the research methodology consisted of a historical analysis, studying current practices and the analysis of a case study. The South African 3D computer-animated feature film, Khumba (2013), produced by Triggerfish Animation Studios, was used as the case study. Reasons for its suitability were twofold: Firstly because the researcher could easily access the animators (which was essential) and secondly, because the film had the musical scenes required to conduct the research. The focus was on the musical scenes in the film. The integration of animation and music in a scene was analysed, allowing the researcher to show how Khumba animators could have benefited from the suggested musical competencies and from using the proposed method when animating musical scenes. A universally agreed approach for notation in animating-to-music doesn’t exist. However, a method known as the bar sheet was used by earlier animators, requiring them to have a basic knowledge and understanding of music. This study proposes the reintroduction of an adapted version of the original bar sheet, digitised for assimilation with contemporary technology. A plug-in for Autodesk Maya was also proposed as an output of the research. Ultimately, this research has the potential to lead to a heightened proficiency of character animators when animating musical scenes in 3D feature-length films. In addition, the research could prompt a universally agreed approach for notation which combines traditional and new methods and techniques. The adoption of this approach could also lead to changes in the working practices of film making teams and the work flow within production pipelines. / MT2018

Orientador: Dorotéa Machado Kerr / Banca: Any Raquel Souza de Carvalho / Banca: Marcos Pupo Nogueira / Resumo: Esta dissertação trata da situação e das condições da disciplina Análise Musical em determinadas instituições de ensino superior da cidade de São Paulo, principalmente nos aspectos referentes à metodologia e fundamentação teórica que embasa seu ensino. Está estruturada em duas grandes partes: 1) Considerações sobre a Análise, como uma subárea do campo musical e como disciplina específica em cursos superiores de Música, com apresentação de modelos teóricos que vem sendo utilizados; 2) Discussão sobre a Análise Musical como disciplina em instituições com curso de Música em nível superior na cidade de São Paulo. Nesta parte é também realizado um estudo crítico e interpretativo (análise qualitativa) a partir da investigação dos planos de ensino de Análise da FASM, UNESP e UNICSUL, para conhecimento da fundamentação teórica e dos procedimentos metodológicos de ensino e de avaliação de resultados na disciplina. Os dados foram coletados e analisados principalmente a partir dos referenciais teóricos de Calais (2007) e Triviños (2009). A Análise Musical está presente em nove de 11 instituições paulistanas que oferecem cursos superiores em Música. Nas três instituições selecionadas para estudo, as metodologias são baseadas em modelos tradicionais europeus e as bibliografias são constituídas essencialmente por teóricos estrangeiros e do século XX, como Schoenberg (1996), LaRue (1989), Cook (1987) Berry (1987, 1989), entre outros. Foi constatada a necessidade de publicações na subárea por autores nacionais, e que a considerem como objeto de estudo em si mesmo. A lacuna entre os conhecimentos analíticos e as realizações musicais práticas, por parte dos alunos, é um dos desafios apontados por docentes. A coleta e apreciação... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This dissertation deals with the situation and the conditions of the Musical Analysis course in certain institutions of higher education in the city of São Paulo, mainly in aspects related to methodology and the theoretical framework that underlies its teaching. It is structured into two main parts: 1) Considerations on Analysis, as a subarea of the musical field as a specific subject in music in higher education institutions, with the presentation of theoretical models that have been used; 2) Discussion about the Musical Analysis as a subject in higher education institutions with Music courses in São Paulo. This part also contains a critical and interpretative (qualitative analysis) study, based on the research of Analysis educational course plans of FASM, UNESP e UNICSUL, to gain knowledge of the theoretical and methodological procedures of teaching and assessment of results on this subject. Data was collected and analyzed mainly from the theoretical framework of Calais (2007) and Triviños (2009). Musical Analysis is present in nine of 11 institutions from São Paulo offering higher education courses in Music. In all three institutions selected for the study, the methodologies are based on traditional European models and bibliographies are composed mainly by foreigners and theorists of the twentieth century, such as Schoenberg (1996), LaRue (1989), Cook (1987) Berry (1987, 1989), among others. This study demonstrated the need for publications by national authors in the subarea, and the need to consider the Music Analysis as object of a study in itself. The knowledge gap between the analytical and practical musical achievements, by students, is one of the challenges identified by teachers. The collection and critical assessment of data needs to be made, from time to time, to observe trends, needs and challenges encountered, and thus, among... (Complete abstract click electronic access below) / Mestre

Orientador: Juvenal Zanchetta Junior / Banca: Raquel Lazzari Leite Barbosa / Banca: Rosângela da Silva Leote / Banca: Alonso Bezerra de Carvalho / Banca: Ricardo Magalhães Bulhões / Resumo: A tese sustenta que a atividade de apreciação dos gêneros musicais, como estruturadora das propostas educacionais para a escola básica, é um princípio pedagógico válido e aplicável aos diferentes níveis de ensino, com ênfase no segundo ciclo do Ensino Fundamental e Médio, promovendo a aproximação das instituições escolares à diversidade dos gêneros musicais e das possibilidades de escuta baseadas nas mídias e suportes disponíveis. A pesquisa-ação foi o instrumental escolhido para uma intervenção entre 169 alunos do ensino fundamental e médio em duas escolas estaduais públicas paulistas. Os resultados obtidos foram analisados à luz das categorias de avaliação da apreciação musical propostas por Keith Swanwick (2014), delineando percursos para atividades entre os alunos da educação básica. / Abstract: The thesis argues that the activity of listening of music genres as a structuring element of the educational proposals, is a valid approach and applicable to the different levels of education, with emphasis in the Elementary [Middle School] and High School, promoting the approximation of institutions to the diversity of music genres and listening possibilities, based on available media. Action-research was the instrument chosen for studies among 169 middle and high school students, in two public schools in State of São Paulo, Brazil. The results obtained were analyzed in the categories of listening evaluation proposed by Keith Swanwick (2014), outlining paths for the development of the proposal among students of basic education. / Doutor

Orientador: Marisa Trench de Oliveira Fonterrada. / Banca: Fábio Miguel / Banca: Leila Rosa Gonçalves Vertamatti / Banca: Jéssica Mami Makino / Banca: Yuka de Almeida Prado / Resumo: Neste presente trabalho pretendeu-se realizar a pesquisa do repertório estudado por dezoito corais Infanto-Juvenis do Projeto Guri (Regional Ribeirão). O objetivo foi conhecer estes repertórios e examiná-los com a finalidade de observar suas caraterísticas composicionais, extensão vocal, os idiomas e o tipo de repertório em seus diversos gêneros e estilos musicais, analisando se eram adequados à faixa etária em que foram aplicados. Com a metodologia adotada Análise de Conteúdo, os documentos foram coletados, categorizados, descritos e analisados. A quantidade de documentos coletados foi de 431 itens que compreendem partituras, letras de músicas e letras de músicas com indicações de harmonia. A partir dos resultados deste mapeamento houve uma reflexão acerca da necessidade de ampliação deste repertório por meio do despertar dos sentidos, para que os estudantes pudessem ter contato com uma maior diversidade musical e assim, ampliassem também suas experiências artísticas. / Abstract: The present work carried out our intention to perform the search of the repertoire studied by eighteen Children-Young choirs of the "Guri Project" (in the area of Ribeirao Preto city). The goal was to get to know their repertoires and examine them in order to observe their compositional characteristics, vocal range, languages and the kind of repertoire in its various genres and musical styles, analyzing their suitability to the age in which they were applied. The methodology adopted was a Content Analysis, in which we collected, categorized, described and analyzed the documents. The amount of collected data was about 431 items, which included musical scores, song lyrics and lyrics with harmony indications. According to the results of this study, we proposed a thought on the need of expanding such repertoire through the awakening of the singer senses, so that the students could be in contact with more musical diversity and, then, also expand their artistic experiences. / Mestre

This qualitative case study approach was designed to examine choral and applied voice pedagogue’s similarities and differences of teaching healthy singing in the choral rehearsal and applied studio lesson while observing how their students respond and interpret the techniques used. The participants included six pedagogues (three choral, three applied voice) at the university level and one student of each pedagogue. Data were collected through pedagogue and student interviews. To support the interviews, demographic surveys, and observations of the choral rehearsal and applied studio lessons were completed. Data were coded and organized based on the four research questions. Analysis and findings were organized based on the four categories found in the study’s conceptual framework: (a) how they develop; (b) conceptualization and strategies of healthy singing; (c) other factors; and (d) student’s perspective. This research revealed that while both choral and applied voice pedagogues’ methods may vary there is consistency among the description of healthy singing and strategies that are appropriate for both settings. The study also shows that the pedagogue's background and training play a major role in the way that they currently teach. Additionally, pedagogues should remain thoughtful of the student’s abilities, repertoire choices, the rapport between them and the student, and the structure of the lesson/rehearsal. Recommendations are offered for choral and applied voice pedagogues, their students, and for future research in the field of healthy singing.

This mixed methodology study investigated the arts integration practices of music teaching artists participating in four selected elementary school arts integration projects in the United States. This study also explored the possibility that music teaching artists’ formal education, arts integration training and professional development, and their own attitudes as well as different stakeholders’ attitudes about arts integration and music education impacted their arts integration practices. The explanatory two-phase design of this study began with the collection and analysis of quantitative data and was followed by the collection and analysis of qualitative data, thus connecting the results from the former to those from the latter. The quantitative data provided information for purposefully selecting the interview participants who provided the qualitative data collection in phase two. The data gathered in this study indicate that the music teaching artists shared similar beliefs about arts integration but that they believed their school leaders’ goals and objectives differed from their own. The data also provided evidence for concluding that the music teaching artists believe that the most successful arts integration projects are those that are collaborative partnerships between an arts specialist or classroom teacher and a teaching artist. A unexpected finding in this study was the teaching and exploration of sound in arts integration projects team taught between a sound teaching artist,–some without musical backgrounds or formal training–a music teaching artist, and a classroom teacher. The statistical analysis in this study regarding the degree to which formal education, arts integration professional development and training, music teaching artists’ attitudes about arts integration, and the beliefs held by music teaching artists regarding school leaders’ and their arts organization’s administrators’ attitudes about arts integration were predictors of the arts integration practices as self-reported by music teaching artists produced results that were non-significant. The content analysis of curriculum documents and student products submitted by the study participants revealed information to support the findings from the interview and survey data / Includes bibliography. / Dissertation (Ph.D.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection