Thesis (MMus.) - University of Glasgow, 2008. / MMus. thesis submitted to the Faculty of Arts, Department of Music, Univeristy of Glasgow 2008. Includes bibliographical references. Print version also available.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2008. / Title from PDF t.p. (viewed May 28, 2009). Advisor: Donald Hodges; submitted to the School of Music. Includes bibliographical references (p. 125-162).

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2009. / Title from PDF t.p. (viewed May 17, 2010). Directed by David Teachout; submitted to the School of Music. Includes bibliographical references (p. 191-206).

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Psychology, 2004. / Includes bibliographical references.

Thesis (Ph.D.)--Texas Christian University, 2007. / Title from dissertation title page (viewed Jul. 27, 2007). Includes abstract. Includes bibliographical references.

Thesis (M.M.E.) Florida State University, 2007. / Advisor: Alice-Ann Darrow, Florida State University, College of Music. Title and description from dissertation home page (viewed 8-29-2007). Document formatted into pages; contains 97 pages. Includes biographical sketch. Includes bibliographical references.

Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-16T11:07:45Z (GMT). No. of bitstreams: 1 Silva_Ronaldoda_M.pdf: 808878 bytes, checksum: 6800d3965c9d9a3f8f855c245692dc32 (MD5) Previous issue date: 2010 / Resumo: Essa pesquisa é um estudo exploratório de natureza qualitativa, e tem como objetivo, analisar a relevância da leitura cantada e da audiação na vida do músico profissional. Inicialmente, apresentam-se dois olhares possíveis para o estudo da leitura cantada: o histórico e o psicológico. O primeiro dirige-se a uma revisão sintética e histórica da sistematização da escrita musical tradicional (a partir do século XI), tendo em vista a preocupação dos principais educadores musicais em facilitar o aprendizado musical, utilizando como uma das ferramentas, a leitura cantada. O segundo olhar, o psicológico, discute aspectos relativos à audiação, que engloba o pensamento musical consciente, expresso, como uma de suas formas, na possibilidade de leitura da partitura de maneira mental e autônoma. Diante da fundamentação teórica, foram colhidos depoimentos de seis músicos profissionais (dois instrumentistas, dois regentes e dois compositores), por meio de entrevistas semiestruturadas, com o objetivo de conhecer suas experiências no campo da leitura cantada e da audiação, no período de formação musical e vida profissional. O resultado da análise de conteúdo dos dados coletados gerou um discurso do sujeito coletivo dos principais temas da pesquisa, no qual se verificou o papel colaborador da leitura cantada no processo da construção da audiação. Constatou-se também a necessidade de conscientização, por parte dos alunos, docentes e instituições de ensino, sobre a importância de se estimular a aquisição das competências aurais no aprendizado musical, por meio de disciplinas integradas, com conteúdos instigantes à audiação, a fim de proporcionar aos alunos o desenvolvimento cada vez maior de suas habilidades musicais / Abstract: This research is an exploratory study of qualitative nature, and aims to examine the relevance of sight-singing and audiation in the life of a professional musician. Initially, two possible views are presented for the study of sight-singing: historical and psychological. The former comprises a summarized historical review of the systematization of traditional musical notation (beginning in the 11th century) and concerns of the main musical educators to facilitate music learning using, among other tools, sight-singing. The psychological view discusses aspects regarding audiation, which comprises conscious musical thought, expressed, under one of its forms, in the possibility of reading a musical score in a mental and autonomous manner. Drawing upon this theoretical basis, statements of six professional musicians (two instrument players, two conductors, and two composers) were gathered through semi-structured interviews in order to know their experiences in the field of sight-singing and audiation, during their period of musical formation and professional life. The result of the analysis of the content of the gathered data provided a discourse of the collective subject of the main themes of the research, in which the auxiliary role of sight-singing in the process of construction of audiation was confirmed, as well as the need of awareness, on the part of students, professors and teaching institutions, of the importance of acquisition of aural competencies on the part of the students, by means of integrated subjects, with interesting contents, so as to constantly improve their musical abilities / Mestrado / Fundamentos Teoricos / Mestre em Música

This study investigated relationships between 36 predictor variables and ensemble pitch and rhythm error discrimination ability. Precollege musical background and other demographic data were collected by means of the Musical Background Questionnaire. Musical achievement was measured by the Aliferis-Stecklein Music Achievement Test, College Midpoint Level. Undergraduate musical coursework data were obtained from transcripts. The criterion variables were measured by the Ramsey-Vincent Test of Instrumental Error Detection; a test of aural-visual pitch and rhythm error discrimination for full-score band music of medium difficulty. All three instruments were administered to 82 undergraduate music students. Subjects represented three Canadian universities and two community colleges. Pearson product-moment correlation tests were used to identify variables significantly related to musical ensemble error discrimination at the .10 level of significance. Eighteen variables were found to be significantly related to ensemble pitch error discrimination. Fourteen variables were found to be significantly related to ensemble rhythm error discrimination. Regression procedures were performed for each of the significant variables. These variables were then organized into blocks representing precollege musical background, other demographic variables, musical achievement, and undergraduate coursework. Regressions were performed for each of the blocks. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 5, 15, 35, and 21 percent of the variance in ensemble pitch error discrimination scores respectively. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 21, 16, 19, and 12 percent of the variance in ensemble rhythm error discrimination scores respectively. Combinations of variables from these blocks produced a linear model comprised of five demographic variables plus precollege choral experience that accounted for 42 percent of the variance in ensemble pitch error discrimination scores. Combinations of variables from the four blocks produced a linear model of ensemble rhythm error discrimination comprised of rhythmic discrimination, choice of a band instrument as one's major performance medium, composition as one's program major, and precollege band or orchestral experience. These four variables accounted for 32 percent of the variance in ensemble rhythm error discrimination scores. The variables selected for use in this study accounted for a substantial portion of the variance in error discrimination scores. To improve the predictive power of future studies, other variables need to be identified and included in the model. Ten conclusions were made regarding the prediction of ensemble error prediction ability. Three recommendations were made for improving error discrimination training and seven recommendations were made for future research in ensemble error discrimination. / Education, Faculty of / Graduate

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Orientador(a): Sonia Regina Albano de Lima / Banca: Liliana Harb Bollos / Banca: Fábio Miguel / Resumo: A dissertação realizada investiga e reflete em que medida as variadas práticas pedagógicas podem auxiliar no refinamento da escuta musical no âmbito do ensino de percepção musical. A escuta musical apurada é uma das virtudes necessárias para que o músico se prepare para as demais disciplinas relacionadas à música e também atue de forma consistente no mercado profissional. Para tanto, foram traçados quatro objetivos: 1. Verificar nas publicações e nas práticas musicais, quais as diferentes metodologias de ensino da percepção musical, com o intuito de compreender qual a melhor forma de repassar esses ensinamentos para os alunos; 2. Averiguar quais as principais dificuldades dos alunos nessa disciplina; 3. Verificar, a partir do levantamento bibliográfico realizado, quais as capacidades e habilidades necessárias para que os alunos desenvolvam uma escuta musical mais refinada e satisfatória; 4. Reavaliar a metodologia do autor da presente pesquisa, a partir dos resultados coletados no levantamento bibliográfico e nas respostas obtidas nos questionários. A pesquisa de cunho qualitativo tomou como base de análise o levantamento bibliográfico realizado com o termo "ensino de percepção musical", além da avaliação dos dois questionários dirigidos para os alunos que cursaram a disciplina "Teoria e Percepção Musical" no Conservatório Dramático e Musical "Dr. Carlos de Campos" de Tatuí, onde atuo como docente. Os questionários realizados apontaram para as dificuldades e sugestões dadas... (Resumo completo, clicar acesso eletrônico abaixo) / The present dissertation aims at checking and reflecting on pedagogical practices that contributes to a refined musical hearing related to musical perception teaching. A sharp musical hearing is required to musicians who intend to study, teach or work in the musical area. Hence, four purposes were set: 1. Checking in articles and musical practices, what are the best methods for teaching musical perception; 2. Finding out the students' difficulties when learning music perception; 3. Verifying, by means of a bibliographical survey, what are the competences and abilities required to develop a more refined and satisfactory musical hearing; 4. Reevaluating the methodology of this thesis' author from the results collected in the questionnaires and bibliography. This qualitative study was based on the term "Musical Perception Teaching" as well as two questionnaires answered by the students who studied the subject "Theory and Musical Perception" at the Drama and Music Conservatory "Dr. Carlos de Campos" in Tatuí, São Paulo, where this thesis' author works as a teacher. The questionnaires pointed the students' suggestions and difficulties... (Complete abstract click electronic access below) / Mestre