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Dirigenten och komponisten Leonard Bernstein (1918-1990) var en av sin tids ledande kulturella celebriteter i Amerika. Bernsteins berömmelse vilade på hans mångsidighet inom skilda artistiska områden. Särskild uppmärksamhet fick dock hans banbrytande verksamhet som musikfolkbildare i tv. En allmän uppfattning är att Bernsteins personliga karisma och affinitet för tv-mediet var anledningen till programmens succé. Denna undersökning har istället undersökt de pedagogiska metoder som han tillämpade i sin undervisning. För detta ändamål har den första Young People's Concert från 1958, ”What does music mean?”, valts ut. Undersökningen har genomförts med hjälp av observation av film och analys av engelsk texttranskription. Genom att använda ett kulturpsykologiskt perspektiv, har återkommande drag kunnat konceptualiseras och extraheras i teman och helhetsintryck. Resultatet visade bl.a. att Bernstein behärskade en varierad uppsättning av presentationsmetoder, språkliga stilar och musikaliska genrer som var strategiskt tillvaratagna i programmet. Bernsteins metod for att besvara den initialt ställda frågan var att undersöka flera olika föreställningar om musikens mening och värdera deras relevans erfarenhetsmässigt, tillsammans med barnen. Han ansåg sig därför fortsatt kunna hävda att musikens mening låg i de emotioner som den kunde framkalla. / The conductor and composer Leonard Bernstein (1918-1990) was one of the leading luminaries of contemporary American culture. His fame rested on his diversity in different artistic areas. Special attention, however, was made to his groundbreaking work as music educator on television. There is a common perception that the success of those programs was due to his charisma and affinity for the television medium. This thesis, on the other hand, has set about to investigate the pedagogical methods Bernstein employed in his teaching. For that purpose his first Young People's Concerts “What does music mean?”, from 1958, was chosen. The research has been done by observing the program on film with additional analysis of the text transcripts. By use of the perspective of cultural psychology certain recurrent traits could be conceptualized and extracted into themes and overall impressions. The results showed that Bernstein was in command of various sets of presentation methods, types of languages and musical genres. Bernstein's method of answering the initially asked question was to investigate different conceptions of the meaning of music and assess their relevance experientially with the children. He therefore was able to maintain that the meaning of music was the emotions it could induce.

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l ’Université de Montréal (www.bib.umontreal.ca/MU). / Les cinquante dernières années ont vues beaucoup de progrès dans la compréhension du comment nous comprenons et écoutons la musique. Malheureusement, la terminologie musicale ainsi que la philosophie de la composition n’ont pas évoluées en tenant compte de ces progrès. C’est en raison de ces obstacles, que la Theory of Patterns a été conçue et développée. La Theory of Patterns met l'accent sur la nature de la perception musicale ainsi que sur la façon d'assimiler les différents formes d’une œuvre. Cette philosophie propose une méthode de composition ou le sujet principal est la relation entre les différents motifs, avec comme objectif, une création musicale pure, vivante et sans ego. Cette philosophie a été développée et utilisée dans la création d'un nouvel opéra en un acte: The Beast in the Jungle. En analysant les différentes formes et motifs de l’œuvre, on retrouve les différents éléments pratiques de cette théorie. / The last fifty years has seen much progress made in the understanding of how we comprehend and hear music. Unfortunately, the terminology of music and philosophy of composition have not developed to reflect this progress. As a result of this obstacle the Theory of Patterns was conceived and developed. The Theory of Patterns focuses on the nature of musical perception, and the assimilation of patterns. This philosophy is meant to provide a method of composition in which the primary focus is the relationship of patterns with the objective of creating music that by fulfilling the pattern’s nature and tendencies, is full of life. This Philosophy was developed through, and used in the creation of, a new one act opera: The Beast in the Jungle. In analyzing the different forms and patterns found in the opera, the practical elements of the Theory of Patterns are judged and discussed.

In contemporary consumer culture, branding is the term given to the creation of an image or text (visual, aural, textural or multi-sensory) intended to represent a commodity or product sold by a producer or service provider. This product’s commercial viability depends largely on the way it is presented (via branding) to its target market. The aim of this research report is to show that music used consciously as a branding medium, with special reference to film music (in its commodified form), has become a brand in itself, as opposed to merely a component of a multi-modal commercial product. Through analyses of a central film music theme from Star Wars: Episode IV, composed by John Williams, I aim to identify what I will term `audio-branding techniques’ within the music, thereby showing how music has come to be regarded as a brand. The audio branding techniques will relate directly to the four levels of analysis that I propose to conduct. The nature of branding implies the presence of three entities in the cultural and commercial `transaction’ that takes place: namely, the service provider (creator), the product (commodity) and the target market (consumer). I intend to argue that, as a result of powerful creative collaborations between John Williams and his various directors (not to mention his own unique talent), this composer’s film music has increasingly become an audio brand which is almost commensurate with the brand status of the film itself. Williams’s ability to create a symbiotic relationship between a music brand and that of a film has set him apart from most other contemporary art and commercial composers. As a result, it is not simply the actors, directors and producers associated with a movie that induce one to buy tickets to see it, but Williams’s independent audio branding style as well. I thus aim to prove that his film music is an audio brand independent of, and yet also allied with, other brands.

This disseartation deals with the conception of teaching play the floot in free time centers. It is specialised on music in the leisure time field and its farther using in life. The dissertation describes music in particular fields of the educational process. It is mentioned here the mission of primary art schools, the mission of kindergardens and the role of leisure time institutions for children in the teaching play the floot. The first part of the dissertation is concentrated on the meaning and influence of music on children. The chapters chart the conception music, the emotional reaction of child on music and musical climate in family. The second part of the dissertation deals with enumeration of particular musical activities. The last part of the dissertation concentrates on the Yamaha musical school and the examples of musical-moving activities.

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