The ways influencing students’ musical expression system are analyzed in the master’s paper. The object of investigation is students’ musical expression in vocational school. The aim of the paper is to analyze the factors influencing students’ musical expression. The masters’ paper consists of introduction, three parts of analysis, the list of literature and appendixes. The purpose and preconditions of higher forms students musical expression and it’s functioning in the whole teaching process are analyzed. The factors influencing the formation of students’ artistic expression are analyzed as well. The second part is devoted to the analysis of artistic education in vocational school. The motivation factors of musical expression are generalized and distinguished. The third part presents and summarizes the results of empirical research. The results of the research show that artistic education at school influences the system of students’ artistic expression as part of personal culture. However, artistic education should be better promoted to help students join the cultural life of society. The research stated the system of preconditions and factors of artistic expression in vocational school. Students’ interests, the musical experience at school and outside it as well as the system of students’ musical expression are investigated and discussed in the paper. According to the research, students’ musical expression experience is important in the self-realization a social... [to full text]

This thesis is about composing music which originates from the possibilities of the voice. With the different qualities of the voice in focus one can discover how the musical choices you make have a direct impact on the direction and meaning of the music itself. The purpose of this project is to deepen the understanding of the voice as an instrument and further uncover how to use the qualities of the voice as inspiration in composing music and lyrics. By mapping the qualities of the voice I realized how techniques, sounds, expressions and skills are connected and was able to create an artistic framework on which I could base my compositions. I wrote five new compositions, all with different vocal focus points. As a result, I discovered how my extended awereness of my instrument contributed to the energy and direction throughout the concert performance of the compositions.

Mokyklos ir visuomenės demokratizavimo bei humanizavimo tikslai skatina atsigręžti į asmenybę, mokinio interesų, poreikio formavimą bei tenkinimą. Darbe nagrinėjami mokinių muzikinės raiškos poreikį skatinantys bei ribojantys veiksniai. Darbo naujumą ir teorinį reikšmingumą charakterizuoja šie argumentai: • Bendra klasės muzikinė veikla orientuojama į kiekvieno klasės mokinio muzikinę raišką. Tuo tikslu akcentuojamas bendradarbiaujančios klasės modelis (konstruktas) – visų klasės mokinių dalyvavimas bendroje klasės muzikinėje veikloje. • Siekiant suprasti bei atskleisti mokinių muzikinės raiškos bendroje klasės muzikinėje veikloje savitumus, atsiradusias reikšmes, motyvus, emocijas atliktas ugdomasis eksperimentas (veiklos tyrimas). • Veiklos tyrimas organizuotas kaip ciklinis procesas, kuris apima planavimą, veiklą, stebėjimą, refleksiją, kai grįžtamosios informacijos dėka įtakojami pokyčiai. Šiame darbe pateikti mokinių refleksijų (dienoraščiai, rašinėliai) kokybinės analizės duomenys gali būti reikšmingi muzikos mokytojams praktikams – tyrėjams, mokyklų bendruomenėms. Veiklos tyrimo modelis gali identifikuoti kasdieninius ugdymo(si) ypatumus bei įtakoti pokyčius. Tyrimo išvados gali atverti muzikinio ugdymo(si) reikšmingumą kiekvienam klasės mokiniui. Tyrimo objektas – mokinių muzikinės raiškos poreikio formavimas. Tyrimo tikslas – atskleisti mokinių muzikinės raiškos poreikio formavimo galimybes bendroje klasės muzikinėje veikloje. Tyrimas parodė, kad klasės veiklos... [toliau žr. visą tekstą] / Democratization and humanizations objectives at school and society encourage turning back to personality, formation and meeting a student’s interests and needs. Factors stimulating and limiting the need for musical expression among students are discussed in the thesis. The following arguments define the work novelty and theoretic significance: • General musical activity in a class is targeted to every student’s musical expression. For this purpose, the model (construct) of a cooperating class is accentuated, namely the participation of all students in the general musical activity of the class. • In order to understand and reveal singularities, meanings, motives and emotions with regard to musical expression among students in the general musical activity of the class, an educational experiment was conducted (activity research). • Activity research was organised as a cyclic process which comprises planning, activity, observation, reflection, when changes are influenced with the help of feedback information. The thesis provides the data of qualitative analysis with regard to students’ reflections (diaries, essays) that might be significant to music teacher practitioners – researchers, and school communities. The activity research model may reveal the significance of musical education to every student in the class. Object of the research is the formation of the need for musical expression among students. Objective of the research is to reveal the possibilities of formation of... [to full text]

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.

<p>In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject.</p>

<p>In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject.</p>

In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject.

In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject.

Dissertation contains theoretical research which allowed to describe and to evaluate possibilities of application of phenomenological method in music education and to foresee the approaches of the teacher who works based on this method, focusing on teacher’s narrative. Seeking to highlight the specificity of a student’s aesthetic perception, the context of musical education at a music school had been chosen when an individual meeting of a teacher and a student in the lesson of a particular musical instrument takes place. Because of its singularity for every person to accept it as their own meaning of experience, as a phenomenon, music is favourable to grasp phenomenal aesthetical experience of students. Unique aesthetic experiences of the students and approaches of the teachers, which are vital to recognise the aesthetic perception of a student, were analized using phenomenological method. It is examined, how and by what linguistic means teacher conveys the musical meaning. Using unstructured interview with the teachers and students and also by observing the lessons, empirical research was conducted, revealing the importance of the narrative as a method, which helps to highlight unique experiences and to grasp the aesthetical perception of the students. It also showed the influence of teacher on a student as a result of internecine interaction while transferring the musical meaning in the process of musical education. The teacher, transferring the musical meaning through... [to full text] / Disertacijoje pateiktas teorinis tyrimas, leidęs apibūdinti ir įvertinti fenomenologinio metodo taikymo muzikos mokymui galimybes ir numatyti mokytojo prieigas dirbant šiuo metodu, daugiausia dėmesio skiriant mokytojo naratyvui. Mokinio estetinio suvokimo specifiškumui išryškinti pasirinktas muzikos mokymo muzikos mokykloje kontekstas, kai per konkretaus muzikos instrumento pamoką vyksta individualus mokytojo ir mokinio susitikimas. Muzika, kaip fenomenas, yra palanki užčiuopti fenomenaliems mokinių estetiniams potyriams dėl savo ypatumo asmeniui ją priimti kaip savo patirties reikšmę. Taikant fenomenologinį metodą analizuojami unikalūs mokinių estetiniai išgyvenimai ir mokytojų prieigos, būtinos mokinio estetiniam suvokimui atpažinti. Nagrinėjama, kaip ir kokiomis kalbinėmis priemonėmis mokytojas perteikia muzikinę reikšmę. Atliktas empirinis tyrimas, naudojant mokytojų ir mokinių nestruktūruotą interviu bei stebint pamokas, atskleidė naratyvo kaip metodo, padedančio išryškinti unikalias mokinių patirtis ir užčiuopti jų estetinį suvokimą, svarbą. Taip pat parodė mokytojo įtaką mokiniui kaip tarpusavio sąveikos rezultatą perduodant muzikinę reikšmę muzikinio ugdymo proceso metu. Mokytojas naratyvu perduodamas muzikinę reikšmę, viena vertus, mokinį nukreipia į norimą suvokimo objektą, kita vertus, per metaforą ir vaizduotės interpretacijas atveria galimybes mokiniui tą reikšmę suvokti savaip ir perteikti ją per raišką. Atskleista, kaip, remiantis fenomenologinėmis... [toliau žr. visą tekstą]

When Baroque keyboard works are performed on the piano, some pianists try to imitate the sound of the harpsichord and clavichord. Others try to avoid this by applying performance practices of the Romantic period to Baroque keyboard works, for the sake of musical expression. The aim of this study is to determine which alterations can be made to the performance of Baroque keyboard works on the piano to ensure a musically expressive, yet stylistically acceptable result. The following aspects are investigated: The production and quality of sound, as well as technique of playing at the harpsichord, clavichord and piano. The possibilities of musical expression at these instruments are also compared. The manner of accomplishing musical expression within a Baroque keyboard work, in terms of appropriate tempo, dynamics and articulation. The extent to which the sound qualities of the piano can be utilised when performing Baroque keyboard works on the piano. This study proves that the alterations made to the performance of Baroque keyboard works on the piano can be of such nature that the unique sound possibilities of the piano are utilised, but that the performance still corresponds to Baroque performance practice. / Thesis (M.Mus.)--North-West University, Potchefstroom Campus, 2007.