This study investigates the changing role of the organ within the Anglican Church of Port Elizabeth. In this study, the term The Church of England is used to refer to both the Anglican Church in England and the Anglican Church (Church of the Province) of Southern Africa. The organ has over many centuries evolved and risen to a place of dominance within the church. Many factors such as political influence, the increase in technology and the use of the organ within the liturgy of the church have contributed to this situation. Equally evident in practices in modern churches and societies is the diminished role of the organ. Again, many factors such as a change in church liturgy, a lack of organists and a negative bias towards the organ have influenced the decrease in the popularity and use of the instrument. In order to prove the rise and fall of the organ a quantitative study in the form of a literature review was employed to trace the organ‟s claim to power as well as the status it gained and to outline the reasons for its decline in power. To investigate this phenomenon, research was conducted in nine selected Anglican churches in Port Elizabeth, that have pipe organs and which were established by the British settlers, along the traditional lines of Anglican churches. The results are discussed and the narratives of the respondents recorded. Findings from the study show that the organ has lost its authoritative voice in the church. The organ is no longer the preferred and only instrument utilized for music and accompaniment within the average Anglican parish service. An urgent and careful response is needed to promote the organ in church services and in the music life of society.

Orientador: Dorotéa Kerr / Banca: Celina Chariler / Banca: Ricardo Kubala / Resumo: A atividade organística no período colonial brasileiro foi intensa. Muitos órgãos vieram de Portugal para o Brasil e postos de organista foram criados nas principais igrejas. Para compreender qual era a música praticada no Brasil é preciso um olhar para a música de órgão portuguesa, afinal os primeiros organistas que aqui tocaram vieram de Portugal ou aprenderam com eles. O órgão ibérico tem muitas particularidades que participaram do desenvolvimento composicional da música portuguesa para teclado / Abstract: The organ activity in the Brazilian colonial period was intense. Many organs came from Portugal to Brazil and organist posts were created in the main churches. To understand what the music practiced in Brazil, is necessary to take a look at the Portuguese organ music, after the first organists who have played here came from Portugal or learned from them. The Iberian organ has many exclusive features which participated in the compositional development of the Portuguese keyboard music / Mestre

盧思泓. / "2005年1月". / 論文(音樂碩士)--香港中文大學, 2005. / 參考文獻(leaves 93-104). / "2005 nian 1 yue". / Abstracts in Chinese and English. / Lu Sihong. / Lun wen (yin yue shuo shi)--Xianggang Zhong wen da xue, 2005. / Can kao wen xian (leaves 93-104). / 圖片及圖表目錄 --- p.viii-ix / 論文槪述 --- p.1 / Chapter 1) --- 硏究動機及目的 --- p.1 / Chapter 2) --- 主要參考理論 --- p.2 / Chapter 3) --- 硏究對象 --- p.3 / Chapter 4) --- 硏究方法 --- p.3 / Chapter 第一章 --- 民族管弦樂與國家建構 --- p.7 / 前言 --- p.7 / Chapter 1.1) --- 民族管弦樂的組建 --- p.7 / Chapter 1.2) --- 國家身分 --- p.9 / Chapter 1.3) --- 電台廣播 --- p.10 / Chapter 1.4) --- 民間音調素材 --- p.14 / Chapter 1.5) --- 「民族管弦樂」、「國家身分」與「國家建構 」 --- p.16 / Chapter 1.6) --- 具有中國特色的管弦樂團 --- p.18 / Chapter 第二章 --- 樂器改革 / 前言 --- p.20 / Chapter 2.1) --- 「西化」與「現代化」及其歷史背景 --- p.21 / Chapter 2.1.1) --- 「西化」與「現代化」 --- p.21 / Chapter 2.1.2) --- 歷史背景 --- p.21 / Chapter 2.2) --- 樂器改革 --- p.22 / Chapter 2.2.1) --- 在既有樂器的基礎上作出改動 --- p.26 / Chapter 2.2.2) --- 創製 --- p.27 / Chapter 2.2.3) --- 挪用西洋樂器 --- p.27 / Chapter 2.3) --- 「中國大型器樂合奏」的外觀設計 --- p.31 / Chapter 2.3.1) --- 視覺印象 --- p.31 / Chapter 2.4) --- 小結 --- p.32 / Chapter 第三章 --- 中、低音笙的改革 / 前言 --- p.34 / Chapter 3.1) --- 少數民族政 策 --- p.35 / Chapter 3.2) --- 蘆笙、葫蘆笙、漢族笙與芒筒的沿革及其結構…… --- p.38 / Chapter 3.2.1) --- 苗族源流 --- p.38 / Chapter 3.2.2) --- 蘆笙的沿革 --- p.39 / Chapter 3.2.3) --- 蘆笙的結構 --- p.44 / Chapter 3.2.4) --- 葫蘆笙的沿革 --- p.45 / Chapter 3.2.5) --- 葫蘆笙的結構 --- p.46 / Chapter 3.2.6) --- 漢族笙的沿革 --- p.48 / Chapter 3.2.7) --- 漢族笙的結構 --- p.50 / Chapter 3.2.8) --- 芒筒的沿革 --- p.51 / Chapter 3.2.9) --- 芒筒的的結構 --- p.52 / Chapter 3.3) --- 能配合樂器改革的少數民族樂器 --- p.54 / Chapter 3.3.1) --- 擴音管設計 --- p.54 / Chapter 3.3.2) --- 高、中、低音齊備的群組演奏模式 --- p.55 / Chapter 3.4) --- 被轉化成爲漢族樂器的蘆笙與芒筒 --- p.55 / Chapter 3.4.1) --- 抱笙與排笙 --- p.56 / Chapter 3.4.2) --- 中音笙與中音蘆笙 --- p.58 / Chapter 3.4.3) --- 鍵盤蘆笙筒 --- p.60 / Chapter 3.4.4) --- 鍵盤排笙 --- p.64 / Chapter 3.5) --- 非單從漢族笙組成的笙群組 --- p.66 / Chapter 第四章 --- 「樣板戲」中的少數民族樂器 / 前言 --- p.69 / Chapter 4.1) --- 文化大革命及樣板戲的沿革 --- p.70 / Chapter 4.2) --- 芭蕾舞劇《紅色娘子軍》的創作沿革 --- p.71 / Chapter 4.3) --- 樣板戲中使用的中國樂器 --- p.73 / Chapter 4.4) --- 沒有蘆笙的黎族與使用了蘆笙的黎族舞 --- p.78 / Chapter 4.5) --- 「漢族」與「非漢族」.」 --- p.80 / Chapter 第五章 --- 結論 / 前言 --- p.82 / Chapter 5.1) --- 漢族管弦樂團 --- p.83 / Chapter 5.2) --- 本質化的少數民族 --- p.84 / Chapter 5.3) --- 總結 --- p.85 / 附頁一 笙的結構 --- p.87 / 發聲原理 --- p.90 / 附頁二 各中、低音笙創制年表 --- p.92 / 參考數目 --- p.93

Since 1977 ten innovatory keyboard laboratories, which enable teachers to utilize group teaching methods in musical instrument instruction, have been set up in A.C.T. educational institutions. Reactions to this innovation have been varied, and its usefulness queried. However, there has been a lack of information and little evidence of systematic research in Australia on this topic, perhaps because there are very few areas outside the A.C.T. where keyboard laboratories are used in schools. The investigation reported here attempted to determine why the innovation spread so rapidly in the A.C.T., the uses to which it was being put, and the kinds of support mechanisms that were necessary to ensure its optimum use. An interview known as the Levels of Use Interview was selected as the main method of collecting data from teachers using keyboard laboratories, and by analysing these interviews in the context of the A.C.T. educational milieu it was possible to predict a future pattern of usage, and recommend appropriate action to be taken by administrators responsible for the organization of A.C.T. education. The findings of the study supported theories that innovations are adopted by members of social networks and that the size of the system and degree of administrative and financial support may positively affect the spread of an innovation. All teachers using keyboard laboratories were convinced of their value, although this perception varied according to factors such as promotional status and recency of teacher training. In addition, the LoU Interview was found to be a highly appropriate tool for a practising classroom teacher to use in an investigation of this kind.

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 103-106).

Syftet med undersökningen är att ta reda på om det finns ett samband mellan KASAM och motivation till att öva på sitt instrument, hos gymnasieungdomar i årskurs tre, två klasser, på estetiska programmet. Undersökningen är en kvantitativ enkätstudie med 29 gymnasieelever på en skola i en mellansvensk stad, med bortfall noll. Aaron Antonovskys livsfrågeformulär (KASAM 13) användes för att mäta gymnasieelevernas grad av KASAM, enkäten kompletterades med en egen fråga (benämnd Egen) gällande informanternas motivation till att öva på sitt instrument. De undersökta elevernas motivation till övning (EgenO) hade ett medelvärde på 3.79 varav 7 var det högsta värdet för maximal motivation till övning, vilket kan anses vara varken högt eller lågt. För att sammanfatta resultatet kring korrelationen mellan KASAM i förhållandet till motivation att öva på sitt instrument kan det konstateras att studien visar att informanterna har en relativt låg känsla av meningsfullhet i det de gör. Gällande begriplighet visar utfallet att 90 % av informanterna upplever låg känsla av begriplighet, vilket troligtvis leder till att drivkraften att öva minskar. Det skulle kunna bero på att motivation saknas att göra sådant de inte begriper. När det gäller hanterbarhet har ca 53 % av eleverna optimala värden (15-16). Utifrån utfallet gällande upplevd hanterbarhet kan antas att upplevd hälsa inom en majoritet av informanterna är god. Det finns inga signifikanta skillnader mellan könen i utfallet av någon av de 13 delfrågorna i KASAM13-enkäten. Även i tidigare forskning har könstillhörighet inte funnits ha någon signifikant betydelse. När det kommer till kön kopplat med meningsfullhet, begriplighet och hanterbarhet visas att kvinnorna i denna studie visar på sämre grad av meningsfullhet. Det finns också svag tendens till att kvinnorna i högre utsträckning än männen är skeptiska till begriplighet i sina liv, även när det gäller hanterbarhet. / The purpose of this study is to examine if there is a correlation between sense of coherence (SOC) and motivation in practicing musical instruments. The study is based on a survey with students in upper secondary school within the art program. Research questions was; is there a correlation between the motivation to practice and SOC and if there are any differences in SOC concerning gender based on comprehensibility, manageability and meaningfulness. A quantitative study was made through a questionnaire with 29 participants from a secondary upper school in a midsize town in Sweden. The questionnaire made by Aaron Antonovsky was used (SOC13) and two questions were added; the degree of motivation to practice a musical instrument and what gender the participants belonged to. To conclude the result, a correlation between sense of coherence and motivation to practice musical instrument was found. However, the result shows that students have a low degree of comprehensibility and manageability but higher degree of meaningfulness. No significant differences are found between genders, which are in line with previous research.

Not available / text

Not available / text

published_or_final_version / Electrical and Electronic Engineering / Master / Master of Philosophy

A survey was conducted to determine current conditions pertaining to church organ acquisitions and renovations in selected Roman Catholic parishes in the United States. A need exists to ascertain what problems are occurring with the process of organ acquisition, what solutions are possible, and how trends in organ acquisition are measuring up with the principles outlined by Vatican II.Addresses of organ companies were obtained from the current National Association of Pastoral Musician's Organ Builders Directory_ (1988). The 105 organ companies queried sent the researcher the addresses of 711 past and current Roman Catholic customers; each customer was sent a questionnaire. Fifty-eight percent of the contacts responded, supplying significant information from 362 parishes in the forty-eight contiguous United States. Information was obtained regarding: organ installation/renovation, selection, organ companies considered, console placement, parish size, age of church building, fund-raising, greatest difficulties experienced, points of advice based on experience, diocesan organ acquisition policies, acoustical concerns, and reasons for choosing a pipe or an electronic instrument.Reviews of related research and discussions of current publications, Roman Catholic church music legislation, new technologies used for accompanying church music, and differing opinions of church leaders supplement the survey research.Parishes reported their most difficult problems encountered during organ acquistion and offered their best points of advice for avoiding problems. The data include opinions regarding pipe and electronic instruments; organ companies frequently utilized; examples of sucessful organ console placement; the status and examples of diocesan written policies concerning keyboard accompaniment instruments; the benefits of combining fund-raising with parish education and communication; and the need for greater concern and education regarding acoustics.Case studies describe Roman parishes that achieved quality worship services after thorough preparations for their organ acquisition. Beginning parishes need the greatest amount of help for organ planning. Conclusions call for national-level attention and education about the organ acquisition process, and encourage dioceses to facilitate this goal with well-written policies. / School of Music