The purpose of this study was to examine the effectiveness of grouping middle school students by learning modality preferences on vibrato acquisition. Traditional approaches to teaching vibrato synthesize reading and listening to elicit an appropriate tactile response, however, Ornstein (1995) identified this approach as a narrow scope suited to a "hypothetical average student" (p.105). Keefe (1985) proposed learning styles as a reliable lens for understanding the individuality of learning. Music education research has a pronounced lack of pedagogical studies addressing technical development particularly regarding stringed instruments. A majority of vibrato research in particular has been regulated to diagnostic studies of the behavior of its inherent acoustic properties. Of the several tutorial vibrato studies that exist, namely those by Gillespie (1997), and Shepherd (2004), few examined beyond two of the primary sensory (e.g., visual and auditory) learning modes identified by Swassing and Barbe (1979). This study challenged traditional approaches by accommodating individual sensory preferences as the most promising path to learning vibrato. Dominant learning preferences of 60 middle school orchestra students were identified using VARK (Fleming, 2001), an instrument whose name is derived from an acronym for Visual, Auditory, Read/Write, and Kinesthetic. Based on VARK (Fleming, 2001), results, four groups were created corresponding to three learning preferences and a control group. Pretest recordings were made to evaluate existent vibrato abilities and all subjects participated in six weeks of intervention vibrato lessons where teaching was deliberately matched to each group's learning preference. The control group was taught using a traditional class method book. Following the intervention period, posttest recordings were made as an exit assessment. All recordings were evaluated by a panel of qualified string educators using Gillespie's (1993) vibrato evaluation instrument and three data sets were constructed corresponding to means of the pretest, posttest, and a means of difference between the two. Analysis included measures of central tendency, Kruskal-Wallis H test and frequency distributions. Descriptive statistics were computed for grade, gender, and instrument to examine latent peripheral relationships and no significant differences were found between learning preference groups and the control group compelling the researcher to accept the null hypothesis.

<p>Denna undersökning handlar om hur videofilm används i undervisningen. Med videofilm avser jag TV, DVD, VHS och filmklipp från Internet eller andra källor. Jag utgick från tre möjligheter med användandet av videofilm i undervisningen: •   videofilm som eleverna kan öva till när de kommer hem, till exempel instruktionsfilmer • filmning av eleverna • förevisning av skickliga musikerFör att ta reda på olika stråklärares tankar och erfarenheter av mediet genomförde jag nio intervjuer. Jag ville också veta efterfrågan på instruktionsvideos bland stråklärare och kontaktade olika producenter och distributörer.    Trots att det inte var vanligt att använda olika medier i undervisningen bland mina respondenter, såg de positivt på videofilm som hjälpmedel. Men det fanns också en rädsla för att mötet mellan lärare och elever skulle kunna upphöra. Det var svårt att se ett samband mellan lärarnas repertoar/metodik och användandet av videofilm. Både lärare och läromedels-förlag trodde att det var en generationsfråga och att användandet av multimedia i undervis-ningen kommer att öka inom de närmaste åren.</p> / <p>This study is about how video films are used in teaching. By video film, I am referring to TV, DVD, VHS and film clips from the Internet or other sources. I imagined three areas of usage in which video films could be used for educational purposes: • video films for the students to bring home to assist with their practising, for example a tutorial video • filming the students • showing skilful musicians I made nine interviews to discover different string teachers’ thoughts and experiences of the medium, and their student’s reactions. I also wanted to know the demand for tutorial videos among string teachers and contacted producers and distributors.   Though media wasn’t frequently used in teaching among my respondents, they saw video films as a helpful aid. But there was also a fear that the interaction between teachers and students would disappear. It was hard to see a connection between teachers’ different repertoire and methods, and their use of video film. Teachers, and companies that produce teaching media, believed that the use of multimedia in education was indicative of the generation, and that we could expect an increase of multimedia use in teaching.</p>

Denna undersökning handlar om hur videofilm används i undervisningen. Med videofilm avser jag TV, DVD, VHS och filmklipp från Internet eller andra källor. Jag utgick från tre möjligheter med användandet av videofilm i undervisningen: •   videofilm som eleverna kan öva till när de kommer hem, till exempel instruktionsfilmer • filmning av eleverna • förevisning av skickliga musikerFör att ta reda på olika stråklärares tankar och erfarenheter av mediet genomförde jag nio intervjuer. Jag ville också veta efterfrågan på instruktionsvideos bland stråklärare och kontaktade olika producenter och distributörer.    Trots att det inte var vanligt att använda olika medier i undervisningen bland mina respondenter, såg de positivt på videofilm som hjälpmedel. Men det fanns också en rädsla för att mötet mellan lärare och elever skulle kunna upphöra. Det var svårt att se ett samband mellan lärarnas repertoar/metodik och användandet av videofilm. Både lärare och läromedels-förlag trodde att det var en generationsfråga och att användandet av multimedia i undervis-ningen kommer att öka inom de närmaste åren. / This study is about how video films are used in teaching. By video film, I am referring to TV, DVD, VHS and film clips from the Internet or other sources. I imagined three areas of usage in which video films could be used for educational purposes: • video films for the students to bring home to assist with their practising, for example a tutorial video • filming the students • showing skilful musicians I made nine interviews to discover different string teachers’ thoughts and experiences of the medium, and their student’s reactions. I also wanted to know the demand for tutorial videos among string teachers and contacted producers and distributors.   Though media wasn’t frequently used in teaching among my respondents, they saw video films as a helpful aid. But there was also a fear that the interaction between teachers and students would disappear. It was hard to see a connection between teachers’ different repertoire and methods, and their use of video film. Teachers, and companies that produce teaching media, believed that the use of multimedia in education was indicative of the generation, and that we could expect an increase of multimedia use in teaching.

Music educators admit that there is a great need for research in the field o public school music. Instrumental class teaching has suffered the trial and error method since its introduction into the schools. There is still an appalling lack of material on the subject. The two or three books published on instrumental class teaching are from twelve to seventeen years old. The Reader's Guide lists only nine magazine articles in the past ten years concerning the class teaching of string instruments. Yet, the successful teaching of instrumental classes requires a high type of organization and a specialized teaching technique. It is not only necessary for the teacher to be a good musician, but he must have a knowledge of proper classroom methods and apply it. The purpose of this study is to analyze and evolve from six recognized beginning string methods a course of study suitable for use in training a beginning string section.

När jag blickar tillbaka på när jag själv gick på kulturskola och spelade cello som barn var det inte mycket fokus på hur jag skulle öva, bara att öva. Med denna studie har jag valt att undersöka hur stråkinstrumentlärare ger ut övningsstrategier och hur de motiverar sina elever till att öva. Den tidigare forskning som lyfts fram visar att elever ska få metoder för att kunna arbeta självständigt och att elever ska kunna utveckla en förståelse för vilken typ av övning som bör betonas. Ansvaret för lärande ligger hos elever men att dom är beroende av musiklärare för vägledning och motivation. Genom semistrukturerade intervjuer som datainsamlingsmetod syftar föreliggande studie till att studera stråkinstrumentlärares syn på övning och motivation. Forskningsfrågorna som ligger till grund för arbetet berör hur stråkinstrumentlärare erfar och uppfattar elevers övning och motivation i sin egen musikundervisning, vilka ideal och förväntningar lärarna har på sina elever samt lärares metoder för att lära ut. Metodmässigt har studien sin grund i kvalitativa ansatser med en fenomenologisk utgångspunkt. Resultatet av studien visar att stråkinstrumentlärare uppfattar övning som ett stort begrepp och att det finns många vinklar att se övning på. Det framkommer att elevers önskan på vad de själva vill spela är oerhört betydelsefullt för eleverna. Ett till resultat visar på genom att öva utvecklar sig elever på sitt instrument och stycke, därmed kan elever tycka det är roligare att spela ihop med andra människor just för att de har övat på sina stycken, vilket kan bli motivation till att öva. Avslutningsvis förs en diskussion kring studiens resultat och huruvida övning och motivation kan hänga ihop och hur stråkinstrumentlärare motiverar genom löften. Själva övandet i sig självt är en inre drivkraft som är motiverande samt att övandet innehåller en bekräftelse på att det är någonting elever kan, vilket ger ett löfte på att elever kommer kunna klara av det dom spelar.   Nyckelord: Övning, motivation, stråkinstrumentlärare, fenomenologiskt perspektiv, intervjuer / When I look back on when I went to music school and played the cello as a child, there was not much focus on how I should practice, just to practice. I have with this study chosen to investigate how string instrument teachers publish practice strategies and how they motivate their students to practice. Previous research that highlights shows that students should be given methods to be able to work independently and that students should be able to develop an understanding of the type of exercise that should be emphasized. It is the student’s responsibility to learn, but they are dependent on music teachers for guidance and motivation. Through semi-structured interviews as a collection method of data, this essay aims to study string instrument teachers views on practice and motivation. The research questions that form the basis of the study concern how string instrument teachers experience and perceive students practice and motivation in their own music teaching, what ideals and expectations teachers have of their students and teacher’s methods of teaching. Methodologically, the study is based on qualitative approaches with a phenomenological starting point. The result of the study shows that string instrument teachers perceive exercise as a big concept and that there are many angles to look at practice. It turns out that student’s desire for what they themselves want to play is extremely important for them. Another result shows that by practicing, students develop on their instrument and piece, thus students may find it more fun to play with other people precisely because they have practiced their pieces, which can be motivation to practice. Finally, there is a discussion about the results of the study and whether practice and motivation can be connected and how string instrument teachers motivate through promises. The practice itself is an inner driving force that is motivating and to practice contains a confirmation that it is something students can do, which gives a promise that students will be able to cope with what they play. Keywords: Practice, motivation, string instrument teacher, phenomenological perspective, interview

Through a comprehensive analysis of literary and documentary material from 1270–1500, this study offers insights into the history and significance of the late medieval string instrument known as the gittern in Western Europe. Source criticism and hermeneutics form the basis of the critical reading of the nearly hundred sources. Through these, a more refined history of the instrument is suggested, focusing on social, symbolic and musical change throughout the period. The gittern is shown to have been an instrument predominately used in noble and royal milieus for half a century before being more widely played among all ranks of society. When its popularity faded in the 15th century, it became a symbol of nostalgia. The sound and playing techniques of the gittern were well suited for the music of the late 14th century, and the decline in use was simultaneous to the developments of new genres and compositional techniques where other sounds were sought.

Studiens syfte är att undersöka vad stråkpedagoger har för attityd och syn på begreppet genrebredd samt hur detta kan relateras till undervisning på musik- och kulturskola. Studiens teoretiska ramverk utgörs av diskurspsykologi. För att undersöka detta har fokusgrupper använts som metod där stråkpedagoger inom musik- och kulturskolor har fått diskutera sina synsätt på genrebredd. Gruppsamtalen spelades in med både ljud och bild för att sedan transkriberas. Transkriptionerna analyserades med diskursanalys för att urskilja vilka tolkningsrepertoarer som framträder i samtalen. I resultatdelen beskrivs de olika tolkningsrepertoarerna som framträtt. Stråkpedagogerna ger utlopp för en variation av tolkningsrepertoarer som presenteras genom två huvudteman: Genrebredd som beroende av flera faktorer samt Genrebredd i undervisningen. Vissa av tolkningsrepertoarerna är kontrasterande mot varandra och vissa innefattar variationer inom dem själva. De mest förekommande synsätten hos lärarna är enligt resultatet, att genrebredd beror mycket på deras egen bakgrund, samt att genrebredd ses som ett verktyg för att möta eleven. Samtliga lärare ger dock uttryck för en tolkningsrepertoar där genrebredd ses som ett viktigt arbete. I diskussionen lyfts resultatets mest framträdande tolkningsrepertoarer för att diskuteras i relation med tidigare presenterad litteratur och forskning samt till det teoretiska perspektivet. / The purpose of this study is to examine string teachers’ attitudes and views towards the term genre width and how this could be related to string education in Swedish community school of music. The theoretical framework of the study is discourse psychology. To examine this, focus groups were used as method where string teachers within Swedish Community Schools of music has discussed their point of views on genre width. The conversations were recorded by video and audio to later be transcribed. The transcriptions were analyzed with discourse analysis to distinguish the various interpretative repertoires. The string teachers provide an outlet for a variety of interpretative repertoires, which is presented in two main themes: Genre as dependent of several factors and genre in teaching context. Some of the interpretative repertoires are contrasting to one another and some includes variations within themselves. The most occurring of the teachers’ views seems to be that to broadening the genre, are dependent on their own background, and that it is looked upon as a tool for meeting the student. All teachers express an interpretative repertoire where genre width, is looked upon as an important work. In the discussion, the most highlighted interpretative repertoires of the results are being related to previous research and presented literature and to the theoretical perspective.

La viola caipira est un type de guitare brésilienne largement utilisée dans la musique populaire. Elle comprend dix cordes métalliques organisées en cinq paires, accordées à l'unisson ou à l'octave. Le travail de thèse porte sur l'analyse des spécificités des sons musicaux produits par cet instrument, peu étudié dans la littérature.L'analyse des mouvements des cordes pincées au moyen d'une caméra rapide montre l'importance des vibrations par sympathie qui donnent lieu à un halo sonore, constituant une signature perceptive importante. Ces mesures révèlent également l'existence de chocs entre cordes, qui ont des conséquences très clairement audibles. Les mobilités vibratoires au chevalet sont par ailleurs mesurées au moyen de la méthode du fil brisé, simple de mise en oeuvre et peu couteuse dans la mesure où elle évite l'utilisation d'un capteur d'effort. Associée à une analyse modale haute résolution (méthode ESPRIT), ces mesures permettent de déterminer les déformées modales aux points de couplage corde/caisse et donc de caractériser l'instrument.Une modélisation physique, basées une approche modale, est réalisée à des fins de synthèse sonore. Elle prend en compte les mouvements des cordes selon 2 polarisations, les couplages avec la caisse ainsi que les collisions entre cordes. Ce modèle est qualifié de modèle hybride car il combine une approche analytique pour décrire les vibrations des cordes et des données expérimentales décrivant la caisse.Les simulations dans le domaine temporel rendent compte des principales caractéristiques identifiées de la viola caipira. / The viola caipira is a type of Brazilian guitar widely used in popular music. It consists of ten metallic strings arranged in five pairs, tuned in unison or octave. The thesis work focuses on the analysis of the specificities of musical sounds produced by this instrument, which has been little studied in the literature.The analysis of the motions of plucked strings using a high speed camera shows the existance of sympathetic vibrations, which results in a sound halo, constituting an important perceptive feature. These measurements also reveal the existence of shocks between strings, which lead to very clearly audible consequences. Bridges mobilities are also measured using the wire-breaking method, which is simple to use and inexpensive since it does not require the use of a force sensor. Combined with a high-resolution modal analysis (ESPRIT method), these measurements enable to determine the modal shapes at the string/body coupling points and thus to characterize the instrument.A physical modelling, based on a modal approach, is carried out for sound synthesis purposes. It takes into account the strings motions according to 2 polarizations, the couplings with the body and the collisions between strings. This model is called a hybrid model because it combines an analytical approach to describe the vibrations of strings and experimental data describing the body. Simulations in the time domain reveal the main characteristics of the viola caipira.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished