Thesis (D.M.A.)--University of Texas at Austin, 1999. / Vita. Includes bibliographical references (leaves 96-97). Available also in a digital version from Dissertation Abstracts.

This thesis investigates the development of the recorder's microtonal repertoire from 1961 through to 2013. The artistic impulses for the use of microtones are discussed and selected pieces studied and performed. An investigation is also undertaken into the relationship between pitch, dynamic, and tone colour. This leads to the development of a method for objectively identifying the changes in tone colour that result from using various microtonal fingerings. Very little substantial research has been undertaken into the recorder's contemporary repertoire, and even less so with regard to its engagement with microtones. The skills for producing the expressive effects of dynamic and tone colour, and thus microtones, were known in the early 16th century, lost, and then revived during the period of musical experimentation in post-war Europe. The application of this knowledge, however, has remained limited. This thesis addresses these shortcomings. Following consideration of intonation and interpretation in Chapter 2 a survey of writings analyzing changes in tone colour and dynamic, and the relationship between them, is undertaken in Chapter 3. These include a number of foreign language texts, whilst others appear in American journals, or conference papers not generally available to the British reader. They highlight the tendency for writers to discuss tone colour and dynamic in vague and subjective terms, and in relation to the performance of early music but rarely in the context of contemporary music. This strand of my inquiry is brought to fruition in Chapter 5, where research leading to the development of a method for identifying and quantifying changes in tone colour, through the application of different fingerings, is applied for the first time. The results of an investigation into the evolution of microtonal repertoire composed since the 1960s are recorded in Chapter 4. Different compositional approaches to both instrument and microtonality are reflected in my choice of seven pieces, plus my own composition, that are the subject of detailed study in Chapter 6. The analyses of the pieces discussed in this thesis, and the contexts in which they were composed, represent a significant step forward in the understanding of the instrument and the use of microtones in compositions of the period. My thesis concludes with a live performance in which a selection of microtonal pieces is presented. This serves as a demonstration and confirmation of the principles discussed in this thesis, drawing together the threads of my research, and applying the insights gained in the course of this study.

Music has, at least to a certain degree, established itself among the subject matter of modern-day school curricula. Its position is probably most precarious in our Junior High School system. Although the Junior High is by no means a recent innovation, it is a controversial one. and is still somewhat in an experimental stage in many respects. Music instruction, particularly, is greatly affected by this profound influence upon the instructional work of the seventh, eighth and ninth grades that the Junior High division has given. John W. Beattie has put it the way:

The purpose of this study was to determine the self-reported level of integration of instructional tasks related to the creating and responding standards in the wind band curriculum and factors negatively or positively related to their integration. The researcher collected data via an online questionnaire pertaining to the integration of Standards and possible correlated factors suggested by the relevant literature. The factors examined in this study included personal demographics, school demographics, state attributes, valuing, competing populations, and three channels of influence (curriculum, teacher development, and assessment and accountability) suggested by the National Research Council in their publication Investigating the Influence of Standards (2002).Results indicated that Standards 6 and 7 are integrated at the highest level and Standards 3 and 4 at the lowest level while Standards 8 and 9 occupy a middle tier. The researcher utilized a phi co relational test for all factors in association to high and low integration of each of the six Standards under review. Chapter 4 reported 138 significant relationships from the following categories of responses.Personal Demographics 1School Demographics7Valuing31Competing Populations16Framework (83 18CurriculumTeacher Development25Assessment/Accountability40Total: 138 / School of Music

Thesis (D.M.A.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 210-221). Also available for download via the World Wide Web; free to University of Oregon users.

nÃo hà / Esta pesquisa se debruÃa sobre uma reflexÃo acerca do processo de aprendizagem dos discentes envolvidos nas disciplinas de Madeiras I e II, com vistas a identificar princÃpios para aprendizagem de instrumento de sopro/madeira. A pesquisa utiliza como refer encial teÃrico central os estudos de Paulo Freire (1996) sobre a aprendizagem; os trabalhos de Pierre Bourdieu (2002) que conceituam habitus e trajetÃria; as pesquisas de Barbosa (1996); Yin (2007); Nascimento (2007); e Almeida (2014) para fundamentar o tr abalho com grupos musicais. A metodologia tem carÃter qualitativo (SILVA & SILVEIRA, 2007) com foco em um estudo de caso (GIL, 2009), que foi antecedido de uma pesquisa exploratÃria (BASTOS, 2009). O enredo se estrutura em uma introduÃÃo, que apresenta o o bjeto de estudo, a contextualizaÃÃo da pesquisa, a justificativa, a hipÃtese e os objetivos; seguido de quatro capÃtulos, a saber: CapÃtulo 1: pressupostos teÃricos do campo musical, no qual apresentamos as vertentes para aprendizagem de grupos musicais e situamos o locus da pesquisa; capÃtulo 2: pressupostos teÃricos do campo educacional, onde discutimos sobre aprendizagem, formaÃÃo, experiÃncia, trajetÃria e currÃculo; capÃtulo 3: metodologia, em que fundamentamos os passos metodolÃgicos do trabalho; capà tulo 4: Construindo uma abordagem pedagÃgica para o trabalho com instrumentos de sopro/madeira em contexto de grupos musicais, em que apresentamos algumas reflexÃes sobre o estudo apresentado / This research focuses on a reflection about the learning process of the students involved in the disciplines of Woods I and II, with a view to identifying principles for wind instrument / wood learning. The research uses as central theoretical reference th e studies of Paulo Freire (1996) on learning; the works of Pierre Bourdieu (2002) that conceptualize habitus and trajectory; the researches of Barbosa (1996); Yin (2007); Birth (2007); and Almeida (2014) to substantiate the work with musical groups. The me thodology is qualitative (SILVA & SILVEIRA, 2007), focusing on a case study (GIL, 2009), which was preceded by an exploratory research (BASTOS, 2009). The plot is structured in an introduction, which presents the object of study, the contextualization of t he research, the justification, the hypothesis and the objectives; followed by four chapters, namely: Chapter 1: theoretical assumptions of the musical field, in which we present the slopes for learning musical groups and situate the locus of the research; chapter 2: theoretical assumptions of the educational field, where we discuss learning, formation, experience, trajectory and curriculum; chapter 3: methodology, on which we base the methodological steps of the work; Chapter 4: Constructing a pedagogical approach to working with woodwind / wood instruments in the context of musical groups, in which we present some reflections on the presented study.

THE APPENDICES TO THIS THESIS ARE NOT AVAILABLE An intrinsic component of South Africa's cultural and colonial heritage resides in the country's deep-rooted tradition of professional musical units known as "service bands": military or concert bands which are an adjunct to the various arms of service of the national defence force and police services. In the first decade of the twenty-first century, the demographics of these bands are as varied as those of the country itself. Yet there is a common factor shared by all service bands, whatever their sociological composition: the need to perform at what is perceived to be a professional musical level in the public eye (and ear). This requires a relatively consistent level of instrumental competency from band members, and to this end a number of evaluation systems have been implemented – and supplanted – since the late 1940s. The purpose of these evaluations is not only an endeavour to maintain acceptable standards of musical performance, but to conveniently categorise band members into four fundamental levels of instrumental proficiency for purposes of salary and, to a lesser degree, rank. Without exception, the previous systems of evaluation were deficient in one aspect or another. More specifically, they were found in the last decade to be lacking both in terms of musical consistency and, since 1994, in the ability to equitably accommodate members of the former "homelands" bands, whose previous training and experience were in the majority of cases confined to the rote learning of band parts, with an almost total lack of formal music training. In a manner that aims to be at once discursive and narrative, this thesis describes the quest for and the realisation of an equitable process of musical evaluation for South African service band members. It documents the actions taken to address the challenges inherent in that quest, the empirical research that provided a tenable answer, and describes the essentially practical stance adopted by the participating musicians and compilers. The processes leading to the new evaluation syllabus are described in some detail, and a number of specific and practical recommendations are proposed for the further amelioration of South African service bands' modus operandi. / Thesis (DMus)--University of Pretoria, 2006. / Music / unrestricted

Please read the abstract in the section 00front of this document / Dissertation (MMus (Musicology))--University of Pretoria, 2007. / Music / unrestricted

Title The prevalence of musculoskeletal disorders among wind instrument players Objectives The aim of this thesis is to determine the prevalence of playing-related musculoskeletal disorders (PRMD) in players on wind instruments in the Czech Republic, to determine their consequences and to identify related factors. Methods This thesis has the character of a cross-sectional study with a questionnaire survey. The study included 308 players on wind musical instruments. Outcomes The prevalence of PRMD was 55 % for the whole music group and 62 % for professional players. The higher prevalence of PRMD was statistically significantly associated with the student status (p=0.001), female sex (p=0.026), playing time on the dominant instrument weekly (p=0.001), and earlier incidence of PRMD (p=0.000). 31 % of players confirmed wrist/hand problems, 31 % confirmed problems in the neck area and 28 % confirmed problems in the upper back area. Because of PRMD, participants most frequently visited a health specialist such as a physical therapist and when dealing with their difficulties alone, most often they did some kind of physical activity. Conclusion The prevalence of PRMD in professional players was at a lower level than in foreign literature. Students, women, players playing more hours per week and players...

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