La présente thèse explore l’espace formel de l’enseignement de la musique en Grèce actuelle en tant qu’un espace de confrontation et de négociation de sens autour du musical. L’introduction de la musique traditionnelle au sein de cet espace sert de paradigme à une étude sur « la gestion de l’altérité musicale » à partir d’une enquête ethnographique de terrain (observation participante et entretiens non directifs), qui s’intéresse plus particulièrement aux conditions de cohabitation entre des enseignants-musiciens aux parcours différents, aux conditions donc de cohabitation entre des pratiques d’apprentissage, des discours et des imaginaires qui tantôt s’entrecroisent, tantôt se concurrencent. L’objectif ultime de ce travail est, à cet égard, de mettre en évidence que les façons dont les individus se représentent la musique et tout ce qui s’y rattache, forment un système symbolique qui renvoie à la manière dont ils se définissent eux-mêmes et ils se situent envers les autres. / The present thesis explores the formal space of music education in Greece as an area of confrontation and negotiation of meanings around music. The introduction of Greek traditional music in this educational space serves as a paradigm for a study on “the management of musical otherness”, based on a field survey (participant observation and non-directive interviews) which focuses in particular on the conditions of cohabitation between teachers-musicians with different musical trajectories, thus on the conditions of cohabitation between learning practices, discourses and imaginaries which sometimes intertwine, sometimes they compete with one another. In this regard, the ultimate aim of this work is to bring to light that the ways individuals represent music and everything related to it, form a symbolic system referring to the manner in which they define and situate themselves in relation to others.

Syftet med denna studie är att undersöka hur gymnasieelevers individuella sånglektioner skiljer sig åt beroende på i hur stor utsträckning sångpedagogernas eget genreintresse styr. Studien är baserad på fyra semistrukturerade intervjuer där två sångpedagoger har sin hemvist inom den klassiska sångtraditionen och två sångpedagoger har sin hemvist inom den afroamerikanska sångtraditionen. Studien är av jämförande karaktär där fokus ligger på eventuella likheter och skillnader mellan sångpedagogers synsätt inom de två olika genrerna. Den teoretiska utgångspunkten för studien utgår från ett sociokulturellt perspektiv och hur kulturella redskap och omgivningar påverkar undervisningen och lärandet. Studiens resultat visar att sångpedagogerna har fler åsikter som förbinder dem samman än vad de har som skiljer sig åt gällande medvetna genreval, hur deras eget genreintresse påverkar sångundervisningen och synen på läroplanen i förhållande till lektionen och dess innehåll. Intervjupersonerna skiljer sig åt gällande lektionsupplägget för nybörjarelever samt sitt personliga musiklyssnande. I diskussionen lyfts sedan de teman som uppkommit i resultatet utifrån ett sociokulturellt perspektiv. Dessa teman är: medvetna och omedvetna val gällande genre, läroplanen som redskap i sångundervisningen samt det egna genreintresset som redskap i sångundervisningen. Det som framkommer är att sångpedagogernas olika redskap påverkar hur de arbetar i och kring sin sångundervisning på gymnasiet. / The purpose of this study is to examine how individual singing lessons for high school students differ depending on to which extent the vocal coach is driven by their own interests concerning genre. The study is based on four semi-structured interviews where two vocal coaches have their home turf in classical music, and two vocal coaches have their home turf within the african american genres. The study is of comparative nature where the focus is on eventual similarities and differences between vocal coaches’ viewpoints within the two genres. The theoretical perspective of the study takes its stand in the socio cultural perspective and how cultural tools and surroundings affect teaching and learning.The result of the study shows that the vocal coaches have more conformed opinions than they have conflicting ones when it concerns informed choices in genre, how their own interests affect their teaching and the views on the curriculum in relation to the lesson and its content. The interviewees differ when it comes to how they plan lessons for beginners and how they themselves listen to music. In the discussion the themes that surface in the result are discussed from a socio cultural perspective. These themes are: informed and uninformed choices concerning genre, the curriculum as a tool in teaching and the teachers’ own personal interests concerning genre. The conclusion is that the different tools the vocal coaches use affect how they work in and surrounding their teaching of high school students.

The goal of this master's thesis is to develop the concept of a restaurant located in Paris, playing weekly live classical music concert, to test this concept through existing literature, potential customers and develop a full business plan. The first part of the thesis investigates theoretical background and a test of the concepts to potential customers. The first is composed of four main topics: factors influencing customer's loyalty in a restaurant, the influence of the physical environment, the effect of music on the atmosphere's perception and associated purchasing behaviour in a restaurant and finally key success factors in the restaurant industry. The second part will be composed of three sub-parts, the first stating the goal of the survey, the second how the survey was realised and the third will present the results and conclusions. The second major part of the thesis is the development of the concept after it was confirmed in the previous part. It is composed of a business plan, the latter describing the concept, the market, the business model, marketing strategy & plan, management, development plan and risks. Financial data will be provided in annexes.

The main objective of this thesis is to map and interpret the financial impacts of the economic crisis on a selected group of classical music cultural events by describing the influence of the possible decline in financial resources on their output and efficiency. The first part of the thesis presents the theoretical basis of culture financing and cultural policy in the Czech Republic and sums up the fundamental economic theories of the behaviour of economy during economic crisis, thus providing a starting point for further interpretation of the performance of these organizations. The second part of this thesis comprises qualitative research of possible variables on a representative sample of classical music festivals. The research is carried out through a content analysis of their annual reports and a secondary analysis of other data provided by relevant institutions. The final section of the thesis attempts to evaluate the impact of the economic crisis on the cultural sector, to confirm or disprove the initial premises and to evaluate generally the financial stability of the Czech classical music festivals.

This thesis focuses on marketing activities of the classical music festival Dvořák's Prague. Its goal is to analyze the advertising and other marketing activities of Dvořák's Prague in detail. On these bases recommendations on how to increase the knowledge of the festival will be proposed. The thesis is divided into two parts. In the first part the thesis focuses on theoretical points related to marketing ín general and to the arts, which are the subject of the festival. Then the concept of the market research is defined, its process and methods. In the second part, theoretical points are applied. After the introduction of the festival itself, the thesis continues with the analysis of particular marketing activities and with the marketing research, which was conducted to discover the public knowledge and awareness of the festival. In the final part the findings from the analyses of marketing activities and results of the marketing research will be used to propose possible improvements in marketing campaign to increase the public awareness of the festival.

The main concern of this thesis was to investigate the possibility of implementing a Western Classical music listening programme for teacher training through integrated arts in Early Childhood Development (ECD). The outcome of this thesis suggests that it is possible to train musically untrained teachers at a one-day practical workshop how to introduce young learners in an acceptable and enjoyable way to Western Classical music. At these workshops, teachers had to dress up in homemade fantasy outfits to depict different characters in stories to music which they had to dramatize. The costumes turned the listening activity into a fun-filled experience which ensured the success of the training. The teachers were mostly generalists without any previous specialized music training. These teachers needed knowledge and skills to integrate the arts in the Early Childhood learning programme. In this programme, a selection of Western Classical music pieces is vividly brought to life through storytelling, dramatization, creative dance movements, instrumental play and the visual arts. Example lessons from the proposed listening programme were implemented during a pilot study in Mauritius with Creole and French speaking ECD teachers who were unfamiliar with Western Classical music. It became evident through the main research study that took place in underprivileged areas in Gauteng, Limpopo and Mpumalanga provinces in South Africa that most black African teachers were also unfamiliar with this music style. Both the pilot study and the main research showed that the methodology of the proposed listening programme is suitable for the training of ECD teachers from different cultures and language groups. Teachers in remote areas made it their responsibility to look for, find or fabricate resources for costumes they could not afford. It has proved to be an effective method that can be implemented at grass-roots level in underprivileged areas and used as a guideline for the integration of the arts throughout South Africa and other countries. The study concludes with recommendations to implement the proposed listening programme at all primary schools in South Africa. / Thesis (DMus)--University of Pretoria, 2007. / Music / DMus / unrestricted

Born in 1927 in Bombay, Vanraj Bhatia is an Indian composer of music for concerts, film, television, opera, meditation, and commercial jingles. His musical style is unique, stemming from his training in both Western and North Indian classical, or Hindustani, music. Little is known about Vanraj Bhatia in the Western classical world, and in India he is recognized primarily as a composer of film music. This dissertation aims to bring awareness of Vanraj Bhatia's significance as a Western classical composer, focusing on uncovering the cross-cultural influences of his only solo flute piece, Night Music, composed in 1964. This research offers Western flutists a better understanding of Indian music, specifically Hindustani and Indian folk music traditions, often not fully understood since Indian music is an aural tradition, rarely transcribed and notated, and relies on a guru/shishya (teacher/student) relationship. Such an understanding will elucidate the compositional choices made in Night Music, allowing flutists to be more informed in their performance of it. Although the focus of this study is on Night Music, other repertoire from Bhatia's concert music and film music will also be examined to illuminate Bhatia's compositional style, which includes elements of Hindustani music, Indian folk music, and Western musical traditions. An exploration of some of Bhatia's other compositions written for Western musicians will give readers beyond the realm of flutists a better understanding of his distinctive, cross-cultural style and influences, and will introduce larger audiences to this exceptional and little-known composer.

Film music has its roots in late-romantic concert music. A number of composers of so-called “serious music” also composed for the film. And some Golden Age film composers came from the concert-music realm and, once they started their association with Hollywood, continued to pen works for the concert stage too. Film music had to struggle for a long time against the prejudice that saw it as music not to be taken seriously; it was regarded as “neglected art”. Nevertheless, film-music concerts have experienced a blossoming in the recent years. There is a large variety, from programmes that only perform film music in concert halls without any additional element to large-scale events in multi-purpose halls where film music is accompanied by film clips or provides the live accompaniment to entire films. This chapter examines the role of John Williams’s film scores in this context. Are there any special features of Williams’s film music that make it particularly suitable to the concert hall? How does the performance practice of his film music differ in comparison to classical concerts? Are there any pieces that are played more frequently than others, and if so, why?

Uppsatsens syfte är att bidra till en djupare förståelse för hur applåden fungerar som en ritual under den klassiska konserten samt hur praxis kring den traderas, då den klassiska konsertens ritualer och normer kan kännas underliga och avskräckande för den som aldrig närvarat vid en sådan. Med en kvalitativ intervjumetod har två informanter frågats om deras upplevelser och tankar kring applåder och den klassiska konserten. Det empiriska material som skapats används som grund för en analys med hjälp av Bourdieus sociologiska begrepp fält, habitus och kapital, Ronald L. Grimes tankar kring det rituella fältet, samt övergripande ritualteori för att bidra med en djupare förståelse kring applåden i samband med den klassiska konserten. Applåden som ritual skapar social mening, signalerar uppskattning för det som publiken upplevt och bildar även en känsla av grupptillhörighet och solidaritet. Applåden upplevs vara viktig för att de som deltagit under konserten ska få utlopp för sina känslor och kommunicera detta mellan publik och musiker, och även sinsemellan den sittande publiken, särskilt i en miljö som kan upplevas som disciplinerad och stram. Traderingen av applådens praxis sker delvis genom misstag då en individ prövar sig fram i konsertupplevelsen, samt genom observation av erfarna i publiken. Presentatörer och andra nyckelpersoner kan bidra med en förklaring av en konsert innan den börjar för att underlätta för deltagarna, och det rika material som finns på olika konserthus hemsidor bidrar med en chans att låta den nyfikna förbereda sig innan den tar klivet in i en ny miljö. Även om det kan applåderas fel under en konsert så kan detta under vissa förutsättningar leda till en delad positiv upplevelse som på sikt kan leda till en lättad syn på applåden under den klassiska konserten.

Syftet med studien är att vidga förståelsen för hur olika instrumental- och ensemblelärare inom klassisk musik och folkmusik upplever prestige. Detta undersöks i deras roller som både musiker och musiklärare. Därtill undersöks hur dessa musiklärare arbetar förebyggande mot negativ prestige i musikundervisning. I musikpedagogisk litteratur lyser ordet prestige med sin frånvaro. Istället används negativt laddade synonymer vilka kan kopplas ihop med min tolkning av negativ prestige. Tidigare forskning påvisar hur praxisgemenskapens gemensamma värderingar och hemmiljön är påverkande faktorer för prestige i musikundervisning för såväl lärare som elever. Studien är kvalitativ med en komparativ design och tar utgångspunkt i hermeneutiken. Data har samlats in med hjälp av semistrukturerade intervjuer med sex musiklärare på gymnasiet, folkhögskola och musikhögskola. Datan analyserades sedan med metoderna hermeneutisk meningstolkning och tematisk analys. I resultatet framkommer att krav, status, och duktighet förknippas med prestige av informanterna. Okunskap och stolthet framläggs därtill som huvudsakliga ursprungskällor för negativ prestige. Informanterna berättar att de i eget musicerande upplever prestige i samband med konkurrens mellan lärosäten och i form av olika sorters tävlingar. I undervisning berättar informanterna att prestige mellan lärare och mellan lärare och elever är påverkat av yrkesstolthet, personligt marknadsvärde och förväntningar. Intervjupersonerna beskriver därtill att de arbetar förebyggande mot negativ prestige i musikundervisning genom att använda diskussion som metod samt genom att sträva efter prestigelöst, lustfyllt lärande. I diskussionen resoneras kring min förförståelse av negativ prestige och hur den genom arbetet har förändrats, möjliga scenarion i en prestigefri tillvaro samt möjliga ursprung till prestige. Studien avslutas med resonemang kring studiens metod, betydelse och fortsatta forskningsmöjligheter. / The purpose of this study is to expand the understanding of how different instrumental and ensemble teachers in classical music and folk music experiences prestige within their daily music teaching praxes. Furthermore this study investigate how the teachers work towards preventing negative prestige in music teaching. The word prestige is seldom found within educational litterature in music. There are instead negative synonyms used which can be connected with my interpretation of negative prestige. Earlier research shows how communal values, as well as the home environment, affect prestige in musical teaching for both the teacher and the student. This is a qualitative study with a comparative design that is rooted in hermeneutics. In this study, data has been gathered through semi structured interviews with six music teachers from different educational levels. This data has then been analyzed using hermeneutical interpretations of sentences and thematic analysis. The results show that, according to the interviewees, demands, status, and cleverness are related to how different types of music are valued. Ignorance and pride are found to be the main sources of this negative prestige. The interviewees said that through their musical experiences, they perceive prestige-related rivalry between musical institutions in a variety of ways. Within teaching, the interviewees bring up that prestige-related rivalry between teachers, as well as between teachers and students, is affected by vocational pride, personal market value, and expectations. The interviewees describe that in order to help reduce negative prestige related to different genres of music, they strive to cultivate a prestige-free and zestful learning experience for their students. They also use discussion as a method for combatting this issue. The discussion of this study is focused around my understanding of musical prestige, how my understanding has changed through this study, possible models of prestige-free teaching, as well as possible sources of prestige in this field. The discussion concludes with a reasoning around the method of the study, its importance, and further possible areas of research.