Thesis (M.M.)--Boston University.

Thesis (D.M.A.)--Boston University

Thesis (Ed.D.)--Boston University

Thesis (M.M.E.)--Boston University

abstract: This research paper examines the close relationships between the visual arts and music and the implications of curatorial practice upon the work of conductors. While some conductors consider suitability the prime (or only) factor in determining which music to perform, curators use many more criteria. Five elements of exhibition design are particularly germane to musicians including setting, subject matter, visual weight, compositional direction, and narrative. Each of these five elements is discussed in terms of its impact on concert design with a goal of providing additional criteria to the conductor when planning concerts. Three concert experiences, designed with these principles in mind, are presented as examples. Upon consideration of the elements of exhibition design separately and corporately, one arrives at a new appreciation of the concert as a unified experience--capable of being much more than the sum of its parts. The aim of effective concert design is to eliminate unintentional communication--to present music in the most complimentary manner possible. To this end, this study has implications for conductors at all levels. / Dissertation/Thesis / D.M.A. Music 2012

<p> The purpose of this study is to explore the technology high school music students are using to improve musicianship. For this study, research was done to determine how students are using the available devices and the most popular applications, programs, and websites available and used by high school band students. A survey was issued to instrumental music students in two high schools asking questions pertaining to the topic. Then, data was compiled into lists consisting of the devices, uses, and applications that were the most favored. The results showed that a majority of students occasionally used technology to either self-evaluate while practicing or find music on their own. In addition, students favored using smart devices while practicing, and they chose applications based on accessibility or familiarity. The findings from this study were similar to a few sources in the related literature, which determine that students are familiar with the technology in similar ways several educators are. For those reading this thesis, the information will provide them with better awareness of the technology their pupils use for music learning.</p><p>

<p> The purpose of this study is to explore and identify flow characteristics in experienced middle school and high school band directors in the context of their teaching. The research was conducted using a qualitative multi-case study through the use of non-participant observations, field notes, and interviews with observational video with stimulated recall to identify the characteristics of flow in a total of five experienced middle school or high school band directors. It was apparent from the findings that every experienced middle school and high school band director experienced flow characteristics at different times while instructing their bands; conditions that facilitated and inhibited characteristics of flow as well as qualities that sustained characteristics of flow also were observed. This research may contribute to improved professional development and preparation of band directors; it may help them to recognize and achieve flow and develop good teaching practices, thereby enabling their students to reach their learning potential.</p><p>

GOMES, Sabrina Linhares. Consolidação do campo de educação musical no Instituto de Educação, Ciência e Tecnologia do Ceará. 2014. 116f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Educação Brasileira, Fortaleza (CE), 2014. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2014-03-07T13:53:38Z No. of bitstreams: 1 2014-DIS-SLGOMES.pdf: 1719772 bytes, checksum: 779669f7019bb7d9ff2ef6ad29eb9dab (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2014-03-07T14:08:04Z (GMT) No. of bitstreams: 1 2014-DIS-SLGOMES.pdf: 1719772 bytes, checksum: 779669f7019bb7d9ff2ef6ad29eb9dab (MD5) / Made available in DSpace on 2014-03-07T14:08:04Z (GMT). No. of bitstreams: 1 2014-DIS-SLGOMES.pdf: 1719772 bytes, checksum: 779669f7019bb7d9ff2ef6ad29eb9dab (MD5) Previous issue date: 2014 / This paper proposes to study the legitimization and consolidation of the field of music education from the current Federal Institute of Education, Science and Technology of Ceará(IFCE). This was achieved through the formation of a social group which became responsible for the creation, deployment, and legitimation decade of existence of the Technical Course in Music IFCE. For such studies, we focus on the training process, the accumulation of capital, the work of the individuals responsible for the consolidation of the field of music education and training IFCE the habitus of these agents. Primarily consider the interviews with the aim of analyzing the trajectory of the teachers of that course as well as the facts and documents included during the early existence of the Technical Course in Music, 2002-2012, and secondarily the last 30 years of music education in institution and training processes of the subjects, consisted in the period 1982-2012. The previous events regarding the time frame from 1956 to 1981 will serve to aid us to understand the formation of the field of music education in IFCE. The analysis and interpretation of data will be conducted with the theoretical and methodological contributions of praxeology of Pierre Bourdieu. / O presente trabalho propõe estudar a legitimação e a consolidação do campo de educação musical do atual Instituto Federal de Educação, Ciência e Tecnologia do Ceará (IFCE). Este se deu por meio da formação de um grupo social que se tornou responsável pela criação, implantação, legitimação e década de existência do Curso Técnico em Música do IFCE. Para tais estudos, enfocaremos o processo formativo, o acumulo de capitais, o trabalho dos indivíduos responsáveis pela consolidação do campo de educação musical do IFCE e a formação do habitus desses agentes. Consideraremos prioritariamente as entrevistas com o fito de analisar a trajetória dos professores do citado curso, bem como os fatos e documentos compreendidos durante a década de existência do Curso Técnico em Música, de 2002 a 2012; e secundariamente os últimos 30 anos da educação musical na instituição e dos processos de formação dos sujeitos, consistido no período de 1982 a 2012. Os acontecimentos anteriores referentes ao recorte temporal de 1956 a 1981 servirão de auxílio para que possamos compreender a formação do campo de educação musical no IFCE. A análise e interpretação dos dados serão realizadas com o aporte teórico e metodológico da praxiologia de Pierre Bourdieu.

Degree Not Listed / Department of Music, Theatre, and Dance / Frederick Burrack / Ruth Gurgel / My lesson plan shown in my video teaching demonstration will show 5th graders performing a traditional song from the Apache tribe by singing, playing xylophones and other non-pitched percussion instruments, and playing a passing game. These students will accompany their voices by playing an ostinato pattern on the xylophone. I have developed as a teacher through the Masters’ Program because I have learned new ways of teaching, especially when it comes to exposure to Orff and Kodaly methodologies, and improvisation within the classroom. I am now more comfortable incorporating improvisation, as well as music from many other cultures into my lessons, and my students are growing as musicians and as people due to it.

abstract: The purpose of this project was to create a beginner-level oboe method book that provides equal attention to both the instrumental and musical concepts necessary for a beginner oboist. The existing literature for beginning oboe students focuses on two specific settings: full band classrooms, where students are playing and learning the instruments together, and private lesson settings, where one or a group of oboe students are focused on learning to play the oboe. Books written for band settings typically focus on teaching the students how to function as a part of the band, with extensive coverage of musical concepts; conversely, books for private lessons often assume a basic level of musical knowledge by the student, and focus heavily on how to play the instrument. This project provides the basis for a new book that combines these elements into a document that both band and private instructors would be able to use. I began my project by collecting all of the extant beginner-level method books for the oboe, dividing them into those for band settings and those for lesson settings. I then created a detailed survey to analyze each book's contents so that in the new book I might address any and all shortcomings in the existing literature. I then distilled the results of this survey into charts, so that any teacher could look at the contents of each book and see how said book fits within the results. Once this was finished, I created an outline for the new method book, listing the contents of the front material, lessons, and back material. My outline sequences the musical and instrumental material together, providing students with all of information necessary to become a successful beginning oboist. I stopped short of selecting music or creating the book's layout, but my goal is to publish the completed book within the next year. / Dissertation/Thesis / Doctoral Dissertation Music 2014