Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 107-119). Also available via the World Wide Web.

Background: The Global Postural Re-education (GPR) method seems to be an effective method for the treatment of musculoskeletal disorders. However, no study has examined its effects on a group of musicians with musculoskeletal pain. Additionally, infrared thermography (IRT) has been widely used in the field of medicine as a monitoring a diagnostic tool, which can provide empirical data about the effectiveness of the GPR method. Objective: To examine the effects of GPR using scales and questionnaires and IRT. Methods: This thesis enclosed two articles. In the first, musicians with (N=6) and without (N=6) musculoskeletal pain underwent a thermographic evaluation to examine the skin temperature asymmetry (STA) between both groups as a representation of musculoskeletal pain. The second article was a randomized control trial and examined the effects of the GPR on a group of 13 participants with musculoskeletal pain (7 experimental, 6 controls) after receiving 8 sessions of GPR. Pain, disability and quality of life data was collected using the VAS, MPIIQM, SF-36. A thermographic assessment was also conducted to examine the correlation between pain severity and degree of STA, and changes in contralateral skin asymmetries before and after the intervention. Results: The first article revealed no significant differences in STA between groups. Results from the second article showed statistical significant improvements in pain, disability and quality of life on the group who received the GPR intervention. Results from the IRT analysis were not significant. Conclusion: Results from the self-report questionnaires suggest that GPR is effective in treating musculoskeletal pain in the targeted group of musicians. Pain changes did not correlate with thermal outcomes. Further studies are needed to confirm the results obtained with IRT.

Psychobiography can be viewed as the re-writing of an individual’s life story previously undetected. In general it consists of a combination of two central elements: biography and psychological theory that aim to explain the particular individual’s psychological development. This particular study serves to explore the extraordinary life of renowned singer, songwriter, artist and activist, John Winston Lennon (1940-1980). The basis for this investigation will take the form of notable biographical accounts of the subject’s life, together with Austrian psychiatrist Alfred Adler’s (1938) theory of Individual Psychology, which recognizes the importance of human society for the development of individual character and the orientation of every single action and emotion in the life of a human being. Adler’s theory further explores that the main motives of human thought and behaviour are an individual’s striving for superiority and power, partly in compensation for his feeling of inferiority. The psychobiographical data collection and analysis for this research thesis will be guided by Yin’s (1994) theory of ‘analytic generalisation’, which uses a theoretical framework in selecting relevant data which develops a matrix as a descriptive framework for organizing and integrating that data, and Alexander’s (1988) analytical model which focuses on lifting out themes through principal identifiers of salience was used and applied. John Winston Lennon expressed his personal experiences and ideals through his songs and became the spokesman for his generation on modern day issues such as feminism and world peace. It is however, unfortunate that Lennon throughout his life remained a boy who felt rejected and unloved by his parents and strove to be superior in all aspects of his rich life in an attempt to acquire the love and acceptance that was not bestowed on him as a child.

Orientador: Marcia Maria Strazzacappa Hernandez / Tese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação / Made available in DSpace on 2018-08-27T14:02:32Z (GMT). No. of bitstreams: 1 Schroeder_JorgeLuiz_D.pdf: 1472988 bytes, checksum: f778d46fb0ff491740e9f80f21bdb3cf (MD5) Previous issue date: 2006 / Resumo: Com este trabalho eu pretendi, entre outras coisas, mostrar um modo de observar a atividade artística musical que fosse capaz de servir à reflexão educacional. Observando mais atentamente o trabalho de cinco músicos prestigiados no meio musical popular (Baden Powell, Egberto Gismonti, Ulisses Rocha, André Geraissati e Michael Hedges), tentei esboçar uma noção, a da corporalidade musical, que permitisse a conjunção das muitas variáveis que entram em jogo no momento concreto da realização musical. Essa noção envolve não só as possibilidades de realização dos próprios músicos - suas facilidades e limitações - mas, também, as marcas que os diversos corpos de outros músicos historicamente cravaram nos instrumentos (neste caso o violão), nas músicas e nos modos de tocá-las. É a tentativa concreta e única de equilibrar o complexo jogo de forças resultante da interação entre essas diversas esferas de regulagem das ações musicais, ou seja, no momento da execução musical, que pode fazer aparecer mais visivelmente a presença de todas essas forças motoras, cognitivas, articulares, contextuais, históricas e culturais que compõem a atividade musical / Abstract: It was intended with this work, among other things, to demonstrate a way to observe the musical artistic activity that would be capable to serve mainly to the educational reflection. Observing more intently the work of five musicians sanctioned in the popular musical scenery (Baden Powell, Egberto Gismonti, Ulisses Rocha, André Geraissati and Michael Hedges), it was tried to sketch a concept, of musical corporealness, which allowed the conjunction of the many variables that set in at the concrete moment of the musical execution. This concept not only involves the possibilities of the execution of the musicians themselves - their abilities and limitations - but, also, the characteristics that the diverse bodies of other musicians have set historically at the instruments (in this case, the acoustic guitar), in the songs and in the different ways of performing. It is the concrete and unique attempt to balance the complex forces game resultant of the interaction between these various spheres of musical action regulations, that is, at the moment of the musical execution, which can make the presence of all these motor forces to illustrate more visibly, cognitive, articulated, contextual, historical and cultural that compose the musical activity / Doutorado / Educação, Conhecimento, Linguagem e Arte / Doutor em Educação

One way of exploring musical identity, as a phenomenon, is to listen to the life stories of musicians. This research interpreted the narratives of undergraduate students of Western Art Music at a South African tertiary institution and described the experiences and the lives of these music students, and the meanings that they attribute to their identities. The participating music students described what they perceive as real-life experiences and defined their views on human self-definition with reference to their chosen study field. The research approach entails a philosophical framework of hermeneutic interpretivism. Such a non-positivist approach sees the lived experiences of the music students not on their own, but as depending on interpretation by the researcher to establish the meanings these students gave to musical identity. The methodology includes a qualitative approach which was done from a narrative perspective through personal storytelling and a thematic analysis of the data. Data triangulation ensures verification of findings by the author and individual participants agreed upon the interpretations of the researcher of their narrations. Participating music students confirmed that personal storytelling assisted them in understanding their musicianship in a better way, as well as gave them a clearer perspective on personal musical experiences. The influence of practising and performing on musical identity was described, but the interaction with music teachers was found to be a significant influential factor on musical identity. The perceptions of South African society in general, with reference to Western Art Music, were found to be detrimental to the musical identities of these students. Musical identities were found to be interwoven in relationships, embedded in the realities of the field of music education and existing deep in the inner selves of these music students. / Thesis (DMus)--University of Pretoria, 2019. / Music / DMus / Unrestricted

Dissertation (MMus (Performing Art))--University of Pretoria, 2002. / Music / unrestricted

Gospel singing is a musically sophisticated and culturally influential vocal performance style. Yet, its pedagogy is often expressed through the lens of formal/classical training or a Contemporary Commercial Music (CCM) umbrella for all non-classical styles. This is problematic because classical training does not produce gospel singing, and most CCM styles are derivatives of the black vernacular singing practices that are foundational to gospel music. It follows that Gospel singing should be foundational to the study of CCM styles. However, in the absence of formal vocal training, little is known about how gospel singers actually develop and maintain healthy gospel singing voices. The purpose of this study is to explore with 12 professional gospel singers, their perceptions of how they have developed and maintain a vibrant and successful gospel singing voice and what role, if any, formal voice training played in that development. The exploration revealed that professional gospel singers are often not only formally trained, but gospel is a key part of their formal training. Their gospel upbringing taught them key cultural practices that both align with and expand the conversation around traditional, CCM, and the growing Gospel voice pedagogy. Their stories offer a different perspective about how gospel singers learn and how they should be taught.

Abstract Female Trombonists’ Experiences of Gender Bias Em Poff and Dr. Alison Deadman, Department of Music, College of Arts and Sciences, East Tennessee State University, Johnson City, TN. Compared with their male counterparts, female trombonists are underrepresented throughout the United States especially in collegiate teaching positions. Does this underrepresentation cause fewer females to pursue playing the trombone and does gender bias play a role? After discussing the historical roles and excepted musical instruments for women to play during the 19th century, this document makes note of many women who were able to surpass societal norms and make their own musical choices. The purpose of this study is to discover if gender bias towards female trombonists exists and if it is a relevant negative factor in the experiences of and musical opportunities open to female trombonists today. This study and the survey questions were inspired by Melissa Ewing’s dissertation, Examining the Under-Representation of Female Euphonium Players in the USA. In order to create a trombone-centered survey, I modified Ewing’s survey questions and added other questions to help gain useful information from female trombone students and trombone professors. I limited my study to 4-year universities in the United States. The names of trombone professors were collected from the College Music Society directory. These professors were surveyed and asked to provide their own gender identity as well as the gender ratio of their studio. In addition, they were asked to forward a survey focused on the college experience of female-identifying trombonists to their female-identifying students. My study will serve as a resource for future research on female-identifying trombonists and gender studies in general regarding musical instruments.

Teen Music es un servicio de intermediación entre músicos profesionales y padres de familia que requieren de profesionales que apoyen a sus hijos en lecciones de música con instrumentos modernos y canto a domicilio, dicha solución se basa en el uso de un sistema de página web, la cual se encargará de hacer posible la negociación entre padres y profesores de música. A lo largo del proyecto, se utiliza diversas metodologías de validación de hipótesis para saber cuáles son las alegrías y frustraciones de los clientes. Además, se establece el mercado total, disponible y operativo (target) para poder elaborar las diversas estrategias de marketing que serán necesarias para ofrecer el servicio de música a domicilio en sus diversas modalidades. No deja de ser importante, el desarrollo del plan de operaciones que contempla políticas operacionales, diseño de instalaciones, las especificaciones técnicas del servicio, la inversión en activos fijos que están vinculados al desarrollo del servicio y la estructura de los costos y gastos operativos. Asimismo, se realiza un análisis detallado de la estructura organizacional y recursos humanos. Finalmente, se utiliza todas las herramientas financieras para saber si el proyecto es viable. / Teen Music is an intermediation service between professional musicians and parents who require professionals to support their children in music lessons with modern instruments and home singing. This solution is based on the use of a website system, the which will be responsible for making possible the negotiation between parents and music teachers. Throughout the project, various hypothesis validation methodologies are used to find out what are the joys and frustrations of clients. In addition, the total, available and operational market (target) is established to be able to elaborate the various marketing strategies that will be necessary to offer the home music service in its various forms. The development of the operations plan, which includes operational policies, the design of facilities, the technical specifications of the service, the investment in fixed assets that are linked to the development of the service, and the structure of operating costs and expenses are still important. In addition, a detailed analysis of the organizational structure and human resources is carried out. Finally, all the financial tools are used to know if the project is viable. / Trabajo de investigación

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