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The Global ETD Search service is a free service for researchers
to find electronic theses and dissertations. This service is
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Networked Digital Library of Theses and Dissertations.
Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
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V - VI klasių mokinių kūrybiškumo ugdymas pamokoje improvizuojant / Creativity fostering while improvising during music classes in 5-6th formsŠores, Rita 16 August 2007 (has links)
Magistro darbe analizuojamas V – VI klasių mokinių kūrybiškumo ugdymas muzikos pamokoje improvizuojant, siekiama atskleisti šio proceso kryptis ir metodiką, tobulinimo galimybes. Tyrimo objektas – mokytojų ir mokinių nuomonė apie muzikinį kūrybiškumo ugdymą improvizuojant. Darbo uždaviniai: atskleisti kūrybiškumo proceso teorinį aspektą, įvertinant improvizavimą kaip kūrybiškumą įtakojančią muzikinę veiklą. Empirinio tyrimo uždaviniai: išaiškinti svarbiausius kūrybišką asmenybę lemiančius veiksnius, pateikti rekomendacijas, kokiomis kryptimis galima vystyti muzikinio ugdymo improvizuojant strategiją. Tyrimas atliktas taikant pokalbio, anketinės apklausos metodus.
Darbe iškeliama pedagoginė problema – mokinių nenoras giliau domėtis muzika. Improvizuojant ši problema pasireiškia mokinių iniciatyvos stoka, susikaustymu, nemokėjimu ir nenoru išreikšti save. Tai ypač būdinga paaugliams.
Tyrimas parodė, kad mokytojai kūrybiškumą nelaiko prioritetine muzikinės veiklos sritimi. Jie kūrybiškai asmenybei priskiria šias savybes: mokėjimą fantazuoti, atkaklumą įgyvendinant savo idėjas, laisvumą, pasitikėjimą, emocingumą, jautrumą, originalumą, nepriklausomumą. Ištirta, kad svarbiausi veiksniai, lemiantys improvizavimo sėkmę, yra muzikinės klausos ir muzikinės atminties lavinimas, saviraiškos ir pažinimo poreikių tenkinimas, sugebėjimas operuoti muzikos išraiškos priemonėmis. Vienodas skaičius mokytojų mano, kad muzikai gabūs mokiniai visada kūrybiški ir muzikai gabūs mokiniai nevisada... [toliau žr. visą tekstą] / This Master‘s thesis contains the analysis of the 5-6th grade pupils education of creativity through improvization at music lessons, directions, methods of the process, as well as possibilities of the development. Research subject - teachers and pupils’ opinion of musical creativity education through improvization. Research objectives: to review the theoretical aspect of creative process, assessing improvization as creativity which influence musical activity. Empiric research objectives: to analyse the most important activities of a creative personality; to present recommendation on the ways of music education through improvization strategy. The research is based on oral and written questions.
Pedagogical problem of the research – pupils’ unwillingness to understand music deeper. This especially concerns teenagers.
The research has demonstrated that teachers do not consider creativity to be the priority ir music education. According to them a creative personality possesses the following qualities; ability to imagine and realise ideas, freedom, self - confidence, emotions, sensitivity, originality, independence. It has been defined that the most important actions, leading to successful improvization, are the development of musical hearing and memory, self-expression and learning needs, ability to use means of music expression. The number of teachers, thinking that musically gifted pupils are always creative, is the same as the number of those who believe that they are not... [to full text]
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The processes used by high school music instrumentalists when improvising music and the factors which influence those processes.Caesar, Michael, n/a January 1999 (has links)
The purpose of this study was to build upon the growing body of knowledge relating to music improvisation by investigating the processes used by high school music instrumentalists when improvising music and the factors that influence those processes.
Many factors contribute to music improvisation skill and they must all be taken into account when investigating the music improvisation processes of high school music students. The theoretical framework of this study was based on the complex interactions that take place simultaneously between three identified ensembles of factors. The three ensembles of factors were:
I . The student profile which included general information and detailed aspects of prior music experience.
2. Enabling skills which included audiation ability, the ability to play music by ear and kinaesthetic abilities.
3. Improvisation processes including, creative processes, cognitive strategies and group or solo contexts for music improvisation.
Taking into account the exploratory nature of this study, the single embedded case study design, involving 12 high school music instrumentalists aged between 13 and 15 years, offered the necessary potential to cope with the wide variety of evidence.
The formal survey was used to gather information that would establish a detailed profile of each student. The Test of Ability to Audiate and Ability to Play by Ear (TAAAPE) was used to measure students' ability to audiate and play music by ear. Similarly, in order to explore the relationships between improvisation processes,
enabling skills and the profile of each student, the Improvisation Ability Test (IAT) was used. This test provided authentic music improvisation experiences in both group and solo contexts. Both tests were scored by two independent judges and the researcher. Finally, the focused interview was used to establish the cognitive
strategies used by the students when undertaking the various music improvisation tasks.
The ability of the case study design to handle both qualitative and quantitative data
proved to be useful in this study. Two major findings emerged from the analysis of
the data:
1. The first was that the processes used by this small group of students when engaged in music improvisation were unpredictable.
2. The second major finding relates to evidence that supports the theory of an interaction between the three ensembles of factors as presented in the theoretical framework of this study. However, contrary to what might have been expected, the study further indicated that the interaction of these factors, in the context of
the music improvisation processes used by these individual students, did not follow or produce any specific patterns.
It was not within the scope of this study to seek the emergence of a model for teaching music improvisation to high school music instrumentalists. However, it has opened the path for further research which could result in the development of such a model.
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A Musical Personality : A quest towards discovering my identity in music and developing it into a musical personalityThorolfsdottir, Marína Ósk January 2021 (has links)
The purpose of my research was to develop and strengthen my personality in music as a vocalist, so I would be able to freely let it out during any musical encounter. My base for the research was a duet with guitarist Mikael Máni Ásmundsson, but it was during a rehearsal with him that I realised for the first time I even had a musical personality – that I liked. Before, I had often felt uncomfortable and tense when playing music and not sure who I was as an artist. I limited myself to working with West Coast jazz, jazz standards, and lyrical improvisation, and I used various methods such as transcribing, ear-training in multiple forms, and improvisation exercises, to develop my musical personality. The research resulted in a nine-song album that Mikael Máni and I created in 2020 under the artist-name Tendra. That album is my examination project. I learned a great deal from the experience. I gained self-confidence, independence trust and calmness during this journey, and at last I feel comfortable with who I am as an artist – my musical personality has finally moved in.
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The history of the flute in jazz, basic techniques, and how jazz and improvisation can inform a classical performanceRodriguez, Florida January 1900 (has links)
Master of Music / Department of Music, Theatre, and Dance / Karen M. Large / This report covers a history of the flute in jazz music as well as the advancement of the flute in jazz, starting from the late 1920s. The lives of jazz flute pioneers Alberto Socarrás, Wayman Carver, Herbie Mann, Hubert Laws, and Ali Ryerson are discussed, as well as their contributions to the history of jazz flute. Basic jazz techniques such as improvisation are broken down and explained for classically trained flutists and others who have an interest in playing jazz music but do not know where to begin. This report also discusses how practicing these techniques can further aid in preparing a classical performance. Examples included in this report are excerpts from Mozart’s Concerto in D Major for flute and Mike Mower’s Sonata Latino.
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Fächerübergreifende Zusammenarbeit Musiktheorie und instrumentales Hauptfach am Beispiel des Kombifaches »Bläserkadenzen«Forman, William, Rabenalt, Robert 22 October 2023 (has links)
No description available.
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The "Equalizer" Administration: Managerial Strategies in the Public SectorCavalcanti, Bianor Scelza 08 April 2005 (has links)
The purpose of this dissertation is to understand the managerial "action" of public administrators in the management of their organizations within the Brazilian context.
The research seeks to understand the relationships between managers and formal management mechanisms by exploring the complementary nature of the effective managerial action in the face of structural deficiencies and flaws, considering the possibility of overcoming the structuralism-subjectivism dichotomy present in the construction of the Theory of Organizations.
Initially, the study provides a review of the literature on organizational design. It highlights the "goodness of fit" proposition on strategic choice issues concerning the main organizational variables design and organizational goal attainment. It also calls special attention to the emerging interest of designing theorists on interpretivist approaches to the matter, such that of Karl Weick.
A review of the the administrative reforms in Brazil is made from the perspective of the main stream organizational design conceptual framework. It highlights the complex dynamics of a constant search for differentiation and flexibilization subject to patterns of advances and reversals, due to the centrality, strength and pervasiveness of the bureaucratic model. It is concluded that in no single given moment, a public manager and his team, may count on a formal organizational design which attends the"congruency" criteria, devised by organizational design conceptual frameworks, to explain organizational results in different environmental sets. Although this conclusion may explain failure at the public sector, it can not provide understanding on the many instances of significative success attained by government operations in spite of inadequate formal administrative structures. This point calls for a better understanding from the interpretivist approach, on how public administrators, strongly associated with good organizational results, engage into transformative action, in order to superate administrative structures flaws and dysfunctional cultural patterns of conduct, structurally present and constantly reproduced, in vigorous developing countries, such as Brazil.
The dissertation transcribes the testimony of four outstanding public administrators, doing a deep incursion in the managerial real world of public administration, as subjectively defined by them and transformed by their engagement into action.Through the thematic version of the Oral History methodology, full segments of the complete interviews are categorized into the thirty two managerial strategies captured which are presented on a recategorized manner under eight main strategies: (1) Interchanging Frames of Reference; (2) Exploring the Formal Limits; (3) Playing the Bureaucracy Game; (4) Inducing the Inclusion of Others (5)Promoting Internal Cohesion; (6) Creating Shields against Transgressions; (7) Overcoming Internal Restrictions; (8) Letting the Structures Blossom. Each one of these eight blocks of strategies presented, deserves further reflexive interpretation by the author, on the light of the interpretivist approach to organizational design.
A final effort is made, now on theory building, for improving understanding on the matter. In order to find a significant meaning underlining all the strategies extracted from the "practical consciousness" of the interviewers as revealed in their report, the author resort to a metaphor. This metaphor helps to: (1) better describe and understand a not adequately treated phenomenon, namely, good results under inadequate structural social and organizational conditions; (2) reveal the logic and the meaning underlining all the strategies adopted to generate results under these unfaithful conditions; (3) name, accordingly to the nature of the managerial transformative social action involved, an open ended class of managerial interventions of a pragmatic sort driven by an ethics of results much common to good managers, that is, the concept of "managerial equalization"; and (4) give back to public administrators, represented by the interviewees, to be incorporated in their "discursive consciousness", something the most effective and experienced public managers already have as tacit knowledge built in their "practical consciousness", and so, help the education and development of new talents. / Ph. D.
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