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Santrauka Magistro darbe nagrinėjamos naujos pianistų ugdymo paradigmos galimybės. Nustatyta, kad iš visų šiandieninę vaikų muzikos mokyklą baigusių mokinių tik 5% renkasi tolesnį būsimo muziko profesionalo kelią – pratęsia mokslus formalaus muzikinio ugdymo įstaigose (konservatorijose, menų mokyklose, LMTA). Taigi 95% moksleivių, neketinančių muzikos mokslus pratęsti toliau, yra taikomi nedidelio procento ugdytinių poreikius atitinkantys ugdymo metodai –- aukšti, profesionaliam ugdymui reikalingi mokymosi standartai. Tokie kontrastingi šiuolaikinėse muzikinio, taip pat ir fortepijono mokymo procentiniai rodikliai įrodo akivaizdų nuostatų diferencijavimo stygių. Šiame darbe modeliuojamas skirtingo ugdymosi alternatyvų vaikų muzikos mokyklų fortepijono skyriuose radimasis – naujas, įvairius moksleivių ugdymosi tikslus ir galimybes atspindintis reiškinys. Empirinio tyrimo, atlikto vaikų muzikos mokyklose, tikslas – nustatyti mokymo/si skambinti fortepijonu muzikos mokyklose ypatumus. Tyrimo objektas – mokymas/is skambinti fortepijonu muzikos mokyklose. Tyrimo metu atlikti šie uždaviniai: mokytojų anketine apklausa išsiaiškinta, kaip vaikai mokomi skambinti fortepijonu, nustatytas mokytojų požiūris į diferencijuoto ugdymosi radimąsi ir galimus tokio mokymo kriterijus fortepijono skyriuje. Anketine apklausa ištirtas mokinių požiūris į fortepijono mokymą/si. Tyrimo metodas – anketinė apklausa, interviu. Apklausti 64 fortepijono specialybės mokytojai ir 90 fortepijono specialybės... [toliau žr. visą tekstą] / The Master thesis analyses new possibilities of pianist teaching paradigms. The conducted research has shown that only 5 % of all contemporary music school graduates choose to be professional musicians by studying at schools of formal music education (conservatoires, art schools, LAMT). Therefore, teaching methods (high teaching standards necessary for professional education) corresponding the needs to a small number of students are applied to 95 % of students who do not intend to continue their studies as professionals. A big contrast in percentage points to an evident lack of attitude differentiation in contemporary music and piano teaching issues. This work modulates different educational alternatives in children‘s music schools and piano departments; a new phenomenon, reflecting different students educational objectives and possibilities. The objective of empirical research conducted at children’s music schools was to identify the peculiarities of teaching/learning playing the piano at music schools. The object of the research is teaching and learning playing the piano at music schools. During the research the several tasks were accomplished; teachers‘ questionnaires pointed out how children are taught to play the piano, teachers‘ attitude towards differentiating education and possible criterion of such education at piano departments was determined. Questionnaires established students‘ attitude to teaching and learning the piano. The research method applied was a... [to full text]

The relationship of musicmaking to the city is a complicated one as it often takes very specific and complex spatial and social forms. The example of Montreal can be used to illustrate some of the ways in which these forms manifest themselves. By considering the way in which two particular cultural spaces, namely scene and bohemia, emerge in relation to musical activity, this project analyzes the nature of musicmaking and its role in shaping a unique experience of the city. It frames a case study of Montreal musicmaking to explore the ways in which scenes and bohemias are connected to city life. It also considers the way in which a particular image of the city manifests itself through musicmaking. The collective representation of Montreal as a bohemia by anglophone musicmakers works with and through a number of social divisions and cultural distinctions. It is argued that the nature of place-images and mythology in musicmaking is such that they have a profound effect on the sociomusical experience of the city. Montreal is privileged by many anglophone musicmakers as an ideal city in which to be culturally active, as the city's weak economic state is perceived to foster the conditions best suited to a flourishing bohemia. This project examines the relationship of musicmakers to Montreal, using a variety of research methods and theories. Cognitive mapping, diaristic accounts and interviews are utilized to better apprehend how a chosen image of Montreal affects musical practice. The socioeconomic history of Montreal in the latter half of the twentieth century is used to frame an analysis of the emergence of an independent music scene in the city. By exploring a number of relevant factors, this project documents the ways in which musicmaking is structured in relation to the economic, political and social dimensions of Montreal.

This study deals with the interplay of music and text in contemporary Durban rap. It / Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2009.

The aim of this study has been to locate a subcultural aspect of neotraditional music performance, and relate this to the broader historical, social, political, economic, and cultural processes of lived experience. In looking at the performance and compositional output of three township neotraditional musicians, I have attempted to focus on the individual construction and articulation of this lived experience. I have sought to link individuals to aspects of social and historical circumstance, perhaps to account for the undeniably social basis of performance generally. In this respect I have also recognised a common, overriding perception by the three township neotraditional performers, namely that of their pursuits as straddling a continuum of performance experience and epoch. In this way I have been led to examine elements which characterise this continuum in the urban black social experience. Thus, the bulk of the second chapter has been informed by existing archival documentary materials, scholarly studies of the socioeconomic, political, cultural and social performance developments among urban Africans in and around Durban prior to 1960. Several interviews with neotraditional performers of this era have also gone towards augmenting a backdrop for the emergent social performance practice of the townships since their consolidation from about the late 1950s onwards. It is from this melting pot of experience that I have attempted to pick up the threads that link the present subjects with what had unfolded before their time. However socially and culturally disjunctive the advent of the townships might be construed, it is as well the dynamics of such conjunctive and disjunctive experience in social performance practice which stand out clearly as symptoms in the course of urban black performance development. I have viewed the experience of the township as manifest in the lives of its citizens, here typified by the three subjects. I have sought the processing of the elements of the environment and its articulation in their individual compositional and performance styles. In the third chapter is delineated the influential aspect of learning and its effect upon the total expressive potential of the individuals. From a close scrutiny of contributing factors in the formative experiences of individual musicians, there emerge elements which highlight the intertextual and coeval nature of lived experience of the three subjects. The inclusion in the first chapter of my early musical consciousness acknowledges both the individual and the shared, social aspect of the musical performance experience. It is also in the intertwined careers of individual musicians that one of the most pertinent theoretical assumptions of this study finds resonance - namely the potential to be changed by, as well as to change, the experience of others (Jackson 1989). Chapter 4 seeks to account for the widespread employment of the guitar, especially in Natal and KwaZulu, as a primary instrument of neotraditional performance expressivity. The section on the tin-guitar exemplifies a general, grassroots understanding of the intervallic possibilities and rudimentary harmonies potentiated by neotraditional musical experiences. Chapter 5 deals with the stylistic approaches of the three subjects to performance and composition. An attempt is made to highlight their individual manipulation and understanding of the elements of form and structure, melody, harmony and rhythm. Chapter 6 focusses attention on the reproduction and representation of the music of the three subjects on records, radio, live performance and the print media. / Thesis (M.Mus.)-University of Natal, 1998.

No abstract available. / Thesis (M.Mus.)-University of Natal, Durban, 1987.

This thesis studies the structural transformation of public musical life in Stockholm during the period 1840–1890, with focus primarily on the classical musical sphere. The study is based on qualitative and quantitative analysis of a number of different sources such as newspapers, music magazines, offprints, and other archival material. Using Jürgen Habermas’s theory of structural transformation of the public sphere as a starting point, the thesis aims to elucidate the processes within the structural transformation of Stockholm’s public musical life. In particular, this study examines processes of institutionalisation and professionalisation within four main areas of public musical life: the music press market, concert life, performers, and audiences. The actions of individuals and institutions are also studied in order to highlight the priorities and proclivities underlying the identified changes to public musical life. The period in question saw the transition of concert life from representational culture to the bourgeois public sphere, as well as the gradual division between ‘classical’ and ‘popular’ musical spheres. The study shows that public musical life emerged and expanded within the bourgeois public sphere. Therefore, the ideas and demands of the bourgeoisie were crucial to structural transformation of Stockholm’s public musical life. The old Royal institutions still constituted the core of the public musical life but were adapted to the new bourgeois society. The process of institutionalisation within the musical life was characterized by organisational functions, but also by social institutionalisation of practices within the four main areas mentioned above. The bourgeois ideas of musical Bildung played a significant role in the processes of institutionalisation and professionalization, as it illuminates the priorities and proclivities underlying this process. Several aspects of this development are related to influences from early nineteenth-century musical idealism. The structural transformation of public musical life in Stockholm during the period 1840–1890 laid the foundation for the further developments in the 20th century, and its impact is in some respects evident still today.

Self-regulated learning theory explains how it is not only the amount of time musicians spend practising that affects achievement, but also the nature of the strategies employed. Because practice is self-directed, motivational effects on its efficiency are especially salient. One construct that has received little attention in relation to practising is self-determination theory, which interprets motivation as lying along a continuum of perceived autonomy. This mixed-methods study investigated links between motivational beliefs and self-regulated practising behaviour through a two-phase design. In Phase One, 677 music examination candidates aged 8-19 completed a questionnaire consisting of items addressing practising behaviour and perceived musical competence; in addition, the Self-Regulation Questionnaire (SRQ; Ryan & Connell, 1989) was adapted to explore intrinsic-extrinsic motives for learning an instrument. Factor analysis of the SRQ revealed five dimensions with partial correspondence to earlier research: internal, external, social, shame-related, and exam-related motives. Three practice behaviour factors consistent with self-regulated learning theory emerged: effort management, monitoring, and strategy use. Results of structural equation modelling showed that internal motivation accounted best for variance in these three types of practising behaviour, with a small added effect from competence beliefs and exam-related motivation. Phase Two consisted of observational case studies of four of the questionnaire participants preparing for their subsequent annual examination. Adolescent, intermediate-level musicians were recorded while practising at home; immediately afterwards, they watched the videotape and verbalised any recollected thoughts. The procedure concluded with a semi-structured interview and debriefing. The videotapes were analysed with The Observer Video-Pro and combined with verbal data; emerging themes were then compared with issues arising from the interviews. The observational aspect of the case studies largely confirmed the importance of three cyclical self-regulatory processes emerging from Phase One: (a) effort management and motivational self-regulation, (b) the role of self-monitoring of accuracy, and (c) the use of corrective strategies, such as structured repetition, task simplification, and vocalisation. The mixture of quantitative and qualitative methods used in the study has uncovered a rich body of information that begins to clarify the complex motivational and behavioural nature of young people practising a musical instrument.

G. W. L. Marshall-Hall, 1862-1915, English-born musician who settled in Australia in 1891, is chiefly remembered as a pioneer teacher and conductor, founder of the Melbourne University Conservatorium and the Melba Memorial Conservatorium, Melbourne, propagator of the first orchestral subscription concerts in Melbourne, and founding Professor of Music at the University of Melbourne. An outspoken Bohemian, his book of poems Hymns ancient and modern (1898) was judged lewd and sacrilegious and led to his severance from the University in 1900. Marshall-Hall was also a composer of over 50 works, including operas, symphonies, overtures, string quartets, and numerous songs. The six extant operas are a representative sample of his creative work, exhibiting strong influence of Wagner and later Puccini, but flawed by the limits of a largely untutored technique. Most interesting is the effect on the composer's creative work of prolonged isolation from and occasional return-visits to Europe.

Thesis (Ph.D.)--Ohio University, June, 2007. / Includes bibliographical references (leaves 280-297)