The diploma thesis "Suites for solo flute in French prints 1702-1722" deals with a complete set of printed collections with suites, which represent the first solo music for a transverse flute with basso continuo. The first part is devoted to the influences that made the flute a solo instrument and also to the composers who worked in the royal orchestras at the court of Louis XIV. and composed these collections (Michel de la Barre, Jacques Martin Hotteterre, Anne Danican Philidor, Pierre Danican Philidor and François Danican Philidor). The second part focuses on specific subtopics. First, it is a detailed description of the prints, followed by instrumentation, ornamentation, articulation and formal construction. The work concludes with a detailed explanatory dictionary of non - musical names that appear in some collections.

Romani music and its incorporation into the school education is the theme of this thesis. The aim is to provide fundamental information about Romani culture and music and to inspire teachers to include multicultural and ethnic topics into their lessons. The thesis is divided into two parts. The theoretical part (first and second chapter) deals with Romani people and their value system, language and its pronunciation. It describes the main characteristics of traditional and contemporary Romani music, while a separate subchapter focuses on Czech songs about Romani people. The following practical part (third and fourth chapter) describes the use of Romani music for both, Romani and non-Romani, children. First, the projects Čhavorenge a Čhavorikano luma are presented, the aim of which is to remind Romani children of their traditional music and the values of their culture. The way of teaching Romani music at a selected elementary school with a large percentage of Romani students is also mentioned. The fourth chapter introduces the possibilities of using Romani music for non-Romani children. It includes songbooks, song collections and arrangements for children and student choirs. Finally, three thematic teaching blocks are presented, from which it is possible to draw inspiration in the lessons of Music...

This disertation is a contribution to our knowledge of music and musical culture in the Old Town of Prague between 1526 and1620. The first methodological chapter, Musical culture of a Renaissance city as a topic, discusses different views on the problem of musical culture in the city, both in domestic and foreign academic literature. This text is followed by a survey of the present state of research entitled Musical Culture in the Old Town of Prague 1526-1620 in the light of present literature. It focuses only on the items that contributed significantly to the topic. The third chapter, Focus on the musical privacy of Prague citizens in the period before the Battle of the White Mountain, opens the main part of the dissertation with the results of newly-undertaken research. It discusses eight concrete samples of inventories and shows the presence of musical scores and instruments in citizens' households and their function in life in those times. The fourth chapter, Musical Culture in the Old Town of Prague 1526-1620 viewed through preserved musical sources tries to focus broadly on those preserved musical manuscripts, that can be attributed to a specific place. The following chapter, The Gradual of Trubka of Roviny, is closely related to the previous one. It is a detailed examination of one of the...

<p>The purpose of this study is, on one hand, to obtain an understanding of how children in municipal music- and culture schools choose instruments and what forms of recruitment methods they are subjected to, and on the other hand, how you can make them continue to play once they have begun.</p><p>To acquire this information, I have interviewed five music teachers and two principals at municipal music- and culture schools in Värmland. The questions treated, among other things, what affects children’s instrument preferences, recruitment methods and what you can do to keep interest for the chosen instrument alive.</p><p>The result of the study shows some apparent tendencies. Even though some of the instruments have trouble recruiting students and other instruments have trouble keeping them, the old methods, which obviously do not work in a satisfactory manner, are still being used. Instead, increased commitment at the occasion of recruitment, more group teaching which strengthens the social bonds through role models and a will to have the courage to change the organization when it does not work, is required.</p>

The purpose of this study is, on one hand, to obtain an understanding of how children in municipal music- and culture schools choose instruments and what forms of recruitment methods they are subjected to, and on the other hand, how you can make them continue to play once they have begun. To acquire this information, I have interviewed five music teachers and two principals at municipal music- and culture schools in Värmland. The questions treated, among other things, what affects children’s instrument preferences, recruitment methods and what you can do to keep interest for the chosen instrument alive. The result of the study shows some apparent tendencies. Even though some of the instruments have trouble recruiting students and other instruments have trouble keeping them, the old methods, which obviously do not work in a satisfactory manner, are still being used. Instead, increased commitment at the occasion of recruitment, more group teaching which strengthens the social bonds through role models and a will to have the courage to change the organization when it does not work, is required.

Denna studie har till syfte att undersöka privata musiklyssningsvanor och hur dessa förhåller sig till det egna musicerandet hos gymnasielever som tar instrumentallektioner på kommunala musik-/kulturskolan, samt hur dessa vanor påverkas av instrumentalundervisningen. Det teoretiska perspektivet är hämtat från sociologen Thomas Ziehe och handlar om hur ungdomar bygger upp sina identiteter i dagens samhälle. Som en bakgrund till undersökningen presenteras dels tidigare forskning om ungdomars musiklyssning, dels forskning om kommunala musik-/kulturskolan. Studien består av fem kvalitativa forskningsintervjuer med gymnasieelever i en svensk småstad. Resultatet visar att ungdomarna ägnar en stor del av sin fritid åt att lyssna på musik och att den främsta musikkällan idag är Spotify. De lyssnar på ett medvetet sätt på bland annat musikens uppbyggnad och musikernas skicklighet. Om och i vilken utsträckning ungdomarna privat lyssnar på samma typ av musik som de spelar på sina lektioner och om de påverkats i sitt privata lyssnande av undervisningen beror på en mängd olika faktorer och därför presenteras de fem ungdomarnas historier delvis var för sig. Resultatet visar också att det finns många olika skäl till att spela på musik-/kulturskolan, och att dessa olika skäl påverkar hur viktigt förhållandet mellan den spelade repertoaren och det privata lyssnandet blir för eleven. Slutligen presenteras och diskuteras två olika pedagogiska perspektiv på hur musiklärare kan förhålla sig till elevernas musiklyssning och förhållande till den på lektionerna spelade repertoaren. / This study aims to investigate private music listening habits and how they relate to the personal music-making among high school students who take instrumental lessons at community schools of music and culture, and how these habits are affected by instrumental teaching. The theoretical perspective comes from the sociologist Thomas Ziehe and is about how young people build up their identities in contemporary society. As a background to the study, previous research on young people's music listening and research on community schools of music and culture is presented. The study consists of five qualitative research interviews with high school students in a Swedish town. The results show that young people spend much of their free time listening to music, and that the main source of music today is Spotify. They listen in a conscious way, for example at the musical structure and the musicians' skills. Whether and to what extent young people privately listen to the same type of music that they play in their lessons and whether the teaching has influenced them in their private listening depends on a variety of factors. Therefore, the stories of the five young people are partially presented separately. The results also show that there are different reasons to study at a community school of music and culture, and that these reasons affect how important the relationship between the repertoire and the private listening habits is for each student. Finally, two different pedagogical perspectives on how teachers can relate to students' music listening habits, and their relationship to the repertoire being played at the lessons, are presented and discussed.

Based on the author's Thesis (M. Phil.)--University of the West Indies, Mona, Jamaica, 2001. / Includes bibliographical references, discography, videography (p. 146-159) and index.

Based on the author's Thesis (M. Phil.)--University of the West Indies, Mona, Jamaica, 2001. / Includes bibliographical references, discography, videography (p. 146-159) and index.

This thesis is an ethnographic and gender-sensitive account of the identities urban Palestinian youth perform through their self-defined ‘alternative’ scene-based musical practices in the post-Oslo era. Departing from the problematic that Palestinian folkloric identity and/or the classical Palestinian national resistance paradigm dominate studies of popular and expressive musics in the Palestinian context, I ask instead how scene affiliates’ musical practices do, or do not do, political work, and in what way – if even at all – these relate to the nation, resistance, and Palestinianness. My approach is ‘bottom-up’ and qualitative, drawing on thirteen months of fieldwork in the interdependent cities of Ramallah (1967/West Bank), Haifa (1948/modern-day Israel), and Amman (Jordan). I carried out sixty-four in-depth interviews and fifteen focus groups with young musicians, bands, audience members, fans, DJs, beat-makers, emcees, producers, party planners, bar and club owners, and other related persons in the scene; as well as over eighty participant observations at concerts, parties, gigs, raves, and bars scenesters frequent. I conclude that their musics perform political work contingently, shifting according to the narratives and practices research lenses focus on, as well as the institutional and geopolitical backdrops hosting them. I argue that in a local Palestinian context, musics perform political, anti-colonial work beyond, and sometimes even against, the classical national resistance paradigm. Given Oslo’s failed ‘peace’ process, scene-affiliates critique the Palestinian Authority (PA), its institutionalisation of the national movement, and territorially-based two-state solution, re-drawing their community instead on the regional lines of bilad al-sham. However, while politicised content is foreground, it is not the only issue youth are concerned with. Many are reluctant to narrow their aesthetic positionalities to political frames, instead pushing musics’ social role as a site of conviviality where new (gendered and other) identities are imagined and enacted. Since Palestine’s globalising ‘turn’ in part enabled these emerging identities and social contexts, leisure and consumption play central roles in their embodiment. Hybrid and translocal in formation, scenesters use localised tropes of Palestinianness (dabke dancing, wedding musics), and globalised ‘hip’ fashions (tattoos, androgynous dress), musics (psy-trance, electro, reggae, hip-hop), and social practices (clubbing, raving, bar-hopping) to perform their imaginaries of alterity. Such translocalisms uncouple Palestinianness from Palestinian national identity, upholding Palestinian particularity while making room for internal differences. However, shifting research focus to a transnational context, I contend that when musicians are branded to London, their self-representations, or the representations their international hosts make of them, often foreground the national resistance, and/or folklorising identity paradigms disavowed locally. Reducing their complex subjectivities to narrow national-territorial frames, in this global circuit of consumption, Palestinian cultural practices perform British multicultural tolerance to ‘ethnic’ otherness on international stages. This, I argue, highlights that Palestinian musics’ reiteration of the nation, resistance, and/or Palestinianness often stems from the operation of geopolitical power, more than the musical content itself. My core argument in the thesis thus is twofold. Firstly, I make the case that scencesters’ musical practices express and enable neither merely resistance, nor solely submisson to the intwertwined status quos of settler-colonial occupation and neoliberal hegemony. Their musics are instead important sites of modest meaning-making. Moving beyond the revolution/co-optation binary reveals scenesters’ everyday and situated negotiations with various political and social powers. Secondly, I argue that since the transnational political economy of images often shapes how Palestinian musics travel in international spaces, we need not ask what Palestinian musics convey, but rather, why we are invited to take up a particular rendering of Palestinian art and culture, and – importantly – what can this tell us about the operation of geopolitical power translocally? Adopting transnational and translocal lenses to analyse how power shapes and normalises conceptualisations of Palestinian musics, my thesis thus calls for the need to see Palestinian cultural production beyond narrow national frames, and position it instead in the global contexts that inform, and are informed by, such aesthetic practices.

No description available.