It is the purpose of this study to organize the music written originally for flute and available in this country on the basis of a critical analysis which will give the reader a brief but authoritative word picture of each composition listed. This includes only music for C flute or without piano accompaniment. There are no arrangements or transcriptions included.

Architecture can facilitate the learning process. This book outlines a design exploration of this fundamental premise. The architectural platform for this exploration is a music conservatory dedicated to teaching the traditional mountain music of Appalachia. The rich history of mountain music and its centuries-old conversational method of conveyance remain the underlying premise of this thesis. A successful bluegrass conservatory must provide places for its students to engage in three occasions: Discovery, Revelation, and Education. Architectural form is significant to these occasions in that it not only allows, but promotes their occurrence. The discovery of inspirational material can occur in a formal stage-and-seat configuration as in the auditorium, or in an informal environment such as the street. The moment in which a musician reveals or explores this inspirational material can be a private one, most likely to take place in the individual rooms of the residential buildings. The most important occasion, education, takes place as it has for centuries - within conversation. Learning the language of bluegrass music is most likely when two or more students sit together to play, share their knowledge, and build on it. These conversations are key to the learning process and can take place on the benches lining the streets, in the indoor gathering rooms, on balconies and porches overlooking the streets, etc. The discovery, revelational, and educational processes are not chronological and must all happen coincidentally within the school grounds. I have set out to build an architectural language whose meaning is derived by conventional pragmatic parameters. This system of rules or notions governs all aspects of this school's design from stair to stage. The parameters are set according to the intrinsic requirements of placing a building on the land that must promote the occurrence of discovery, revelation, and education. / Master of Architecture

The diploma thesis "The Pilsen Conservatory with a Focus on the Violin Department" first deals with historical contexts that are connected with important violin personalities of the Pilsen Conservatory. The first part presents historical events which are linked to significant violinists of the Conservatory in Pilsen. Its aim is to present complex overview of the teachers who worked at the Conservatory from its beginning and who contributed to the high level of the Violin department with their experienced work. The thesis also focuses on the important graduates who represented or still represent the school with their pedagogical and artistic success at diverse musical events either in the Czech Republic or abroad. The second part brings interesting interviews with the teachers and the graduates of the school. Among them the most interesting are the parts where the teachers explain the methodology, which they use in their lessons. From the point of view of the oral history the teachers' memories of their beginning with the violin, difficulties during the study or their life are also very interesting.

Die Entstehung der Bibliothek ist mit der Geschichte ihrer Alma mater eng verbunden. Die staatliche Musikhochschule wurde am 1. Oktober 1947 gegründet und an demselben Tag fing auch die Bibliothek ihre Tätigkeit an.

Made available in DSpace on 2017-07-21T20:31:52Z (GMT). No. of bitstreams: 1 Georgeana Lan.pdf: 1752650 bytes, checksum: 4d69687771408c64e013d32dd259199a (MD5) Previous issue date: 2010-12-10 / This dissertation analyses the cultural and educational project represented by the Maestro Paulino Martins Alves Musical and Dramatic Conservatory (CDM) in the period between 1971 and 1995, focusing on aspects related to the foundation of this institution and on the social (intellectual) agents responsible for it. The analysis draws on Cultural History authors in order to put into discussion the written and oral sources of the documentary corpus that, associated to the history of music teaching in Brazilian and European conservatories and to discussions on the nature of the educational process of such institutions, is used to econstruct both the institutional history of the CDM and the music education experiences carried out within this cultural space. In the light of considerations by Pierre Bourdieu related to art history and cultural/symbolic struggles present in society, it is possible to affirm that the groups that worked at the CDM established a view of art, music and music education that induced a disposition or aesthetic habitus amongst those who consumed such cultural goods. Furthermore, such groups used this symbolic capital as a strategy to be recognised as a distinguished social stratum in the city of Ponta Grossa. / Esta dissertação analisa o projeto cultural e educacional do Conservatório Dramático Musical Maestro Paulino Martins Alves (CDM) no período circunscrito entre 1971 e 1995, enfatizando os aspectos que determinaram o processo de sua fundação, bem como os agentes sociais (intelectuais) que o organizaram. Apoia-se nos autores da História Cultural para problematizar as fontes escritas e orais que compõem o corpus documental que, associado à história do ensino de música nos conservatórios europeus e brasileiros e às discussões sobre a natureza do processo educativo dessas instituições, é utilizado para a reconstituição da história institucional do CDM e das experiências de educação musical empreendidas nesse espaço cultural. À luz das considerações de Pierre Bourdieu relacionadas à história da arte e às lutas culturais/simbólicas presentes na sociedade, é possível afirmar que os grupos que atuaram no CDM estabeleceram uma visão de arte, de música e de educação musical que conformou uma disposição ou um habitus estético entre aqueles que consumiam tais bens culturais, assim como usaram esses capitais simbólicos como estratégia para serem reconhecidos como distintos entre os outros estratos sociais de Ponta Grossa.

Bibliotheken an Kunst- und Musikhochschulen führten über Jahrzehnte hinweg weitgehend ein Schattendasein. In der künstlerischen Ausbildung spielten Bibliotheksdienstleistungen nur eine Nebenrolle. Studierende betraten diese Einrichtungen, vielleicht um in einem Kunstband zu blättern oder einige Noten auszuleihen – nicht viel mehr und nicht viel weniger. In der Informationsgesellschaft haben sich auch die Ansprüche an Kunst- und Musikhochschulbibliotheken deutlich erhöht. Die rasanten Veränderungen im Bibliothekswesen sind an ihnen keineswegs spurlos vorbeigegangen. Vielmehr lässt sich deutschlandweit auch hier eine zunehmende Professionalisierung gekoppelt mit einer eigenen Entwicklungsdynamik beobachten.

The present study is an endeavor to supply additional information which may assist in the evaluation of music students of Jordan Conservatory.

Submitted by Viviane Lima da Cunha (viviane@biblioteca.ufpb.br) on 2015-05-26T10:56:02Z No. of bitstreams: 1 arquivototal.pdf: 993697 bytes, checksum: 0e8f56d463bbc5063fcebebeafa85c17 (MD5) / Made available in DSpace on 2015-05-26T10:56:03Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 993697 bytes, checksum: 0e8f56d463bbc5063fcebebeafa85c17 (MD5) Previous issue date: 2014-08-20 / This research sought to understand the relationship between the academic higher education of students who obtained the Bachelor of Music degree at the Universidade Federal da Paraiba (UFPB) and their insertion and professional performance in the labor market in the city of Joao Pessoa, through their own perception. Thus, we have develop a qualitative research based on interviews, with ten out of the 21 students who fitted the selection criteria – i.e. instrumentalists who obtained the title of Bachelor of Music between the years of 2010 and 2011, and worked professionally in the city of Joao Pessoa. As an instrument for data collection, semi-structured interviews were conducted in order to recognize the alumni‟s own experience through out the undergraduate course, as well as in the labor market, to identify recurrent social representations in their discourses, and to understand how the University proposed curriculum of the course contributed to labor opportunities in the professional job market. The critical analysis of the reports was done from the perspective of the Social Representations Theory and studies from the Music Education area that showed some relation with the chosen theme and the data collected. In this sense, we discussed how the relation between the students and the music was established and how the social representation of the artist‟s roll can be recognized through the family‟s support (or their lack of support) to the option of being a professional musician. From the data obtained and the bibliographic and documental analysis, we could find the influence of the Conservatory Teaching Model in the course‟s curriculum, although it had been adapted. Besides, we make some considerations about the student‟s perceptions and expectations on their education, reflecting about possible innovations and adaptations for the curriculum. The dichotomy between being a musician against being a professor is also emphasized, as teaching appeared on the reports as a professional option for the bachelors as, in fact, these two possibilities appear as complementary activities. Thus, we conclude that the course curriculum as propose by the University is not properly articulated to the job market reality, notably in relation to the labor market in city of Joao Pessoa. / A presente pesquisa buscou compreender a relação entre a formação superior de egressos do curso de Bacharelado em Música da Universidade Federal da Paraíba (UFPB) e sua inserção e atuação profissional no mercado de trabalho da cidade de João Pessoa, a partir das percepções dos mesmos. Para tanto, realizamos uma pesquisa qualitativa com base em entrevistas, com dez dentre os 21 alunos que se adequavam aos critérios de seleção – instrumentistas egressos do curso de Bacharelado nos anos de 2010 e 2011, que atuavam profissionalmente na cidade de João Pessoa. Como instrumento de coleta de dados, foram realizadas entrevistas semi-estruturadas, buscando conhecer a experiência dos egressos no curso e no mercado de trabalho, identificar as representações sociais recorrentes nos discursos e compreender como o currículo proposto pelo curso contribuiu para o ingresso do profissional no mercado de trabalho. A análise crítica dos relatos foi realizada sob o olhar da Teoria das Representações Sociais e de estudos da área de Educação Musical e áreas afins que mostraram ter relação com o tema escolhido e os dados coletados. Neste sentido, discutimos como foi estabelecida a relação dos egressos com a música e como a representação do papel social do artista pode ser reconhecida no apoio familiar (ou a falta dele) à opção pela profissão de músico. A partir dos dados obtidos e da análise bibliográfica e documental, pudemos constatar a influência do Modelo Conservatorial de Ensino no currículo do curso em questão, embora tenha sofrido adaptações. Além disso, tecemos considerações acerca das percepções e expectativas dos egressos sobre a sua formação, refletindo sobre possíveis inovações e adaptações no currículo. A dicotomia músico versus professor também foi enfatizada, já que a docência apareceu nos discursos como uma opção profissional do bacharel e, na prática, essas duas possibilidades de atuação aparecem como atividades complementares. Concluímos, assim, que a proposta do curso não está devidamente articulada à realidade do mercado de trabalho atual, especialmente em relação à cidade de João Pessoa.

The popularity of the clarinet in Spain is second only to that of the guitar, and there is a rich tradition of clarinet playing that is accompanied by an equally rich repertoire of music for the clarinet by Spanish composers. The works for clarinet and piano by Miguel Yuste (1870-1947) are among this little known repertoire. In the early twentieth century it was thought that Miguel Yuste wrote over one hundred works for clarinet. However, current research suggests that this is incorrect. What is known is that seven works for clarinet and piano have been published. Miguel Yuste and his music are pivotal in the establishment of the strong clarinet tradition for which Spain is presently known. In his thirty years as the clarinet professor at the Real Conservatorio Superior de Música de Madrid (1910-1940), Miguel Yuste's music and pedagogical ideas became, and continue to be among the foundations of Spanish clarinet playing. This project discusses each published work and presents current research on the works composed for clarinet and piano by Miguel Yuste. After a brief history of Spain's music and social climate in which it developed (Ch. 2), this document discusses the introduction of the clarinet in Spain, clarinet pedagogy at the Madrid Conservatory (Ch. 2), and Miguel Yuste's influence within that pedagogy (Ch. 3). Establishing contact with living clarinetists whose music education was directly influenced by Miguel Yuste and/or his students provides invaluable insight into the traditional performance practice of the works and the extent to which Miguel Yuste influenced Spanish clarinetists in the twentieth century. Chapter four presents an annotated bibliography and brief discussion of the extant works for clarinet by Miguel Yuste. Each annotation includes the title of the work, publisher, date of publication, duration, and any commercially available recordings.

During his tenure as the professor of trombone at the Paris Conservatory, Andre Lafosse wrote the Traite de Pedagogie du Trombone a Coulisse addressing trombone pedagogy that was to be studied in conjunction with his method and etude books, Methode Complete de Trombone and Vade Mecum du Tromboniste. The pedagogic philosophy reflects Lafosse's own experiences as an orchestral musician in France in the early 20th century. Lafosse designed and used his treatise to prepare students to be effective teachers after their graduation from the Conservatory. The scope of preparation for Lafosse's trombone class, however, was limited. He did not attempt to provide a text or tutor that would prepare trombonists for any career in music: Lafosse was primarily concerned with orchestral trombone playing, as reflected in musical exercises, instrument designation, and repertoire references. Solo performance skills are also explained at length in his treatise, and Lafosse includes his own solo transcriptions in the curriculum. This emphasis placed on performing as a soloist appears to oppose Lafosse's implied preference for orchestral performance. Throughout his career as a trombone professor Andre Lafosse compiled and wrote music that emphasized elements of trombone technique based on the French solo and orchestral repertoire. His primary concern as a teacher was developing the skills for an orchestral career in France, but his method was to use exercises that focused on certain technical aspects of trombone performance. The exercises and etudes chosen were all influenced by French music regarding the skills deemed important by Lafosse (i.e. those required by the French orchestral and solo repertoire) and the acoustic design of the trombone in France in the early 20th century. Considering the holistic context of Lafosse'ss role at the Paris Conservatory, Lafosse's curriculum and methodology should be deemed appropriately designed for the best interest of the students. In the following pages the implications of Lafosse's philosophy will be explored in order to understand the basis for his ideas, and his pedagogic approach will be evaluated in the context of the mid 20th century. The purpose of these endeavors is to discover Lafosse's reasoning and its appropriateness within a synchronic context.