The purpose of this study is to trace the early development of a popular twentieth-century chamber music ensemble, the woodwind quintet. The first chapter concerns the history and background of the use of woodwinds in chamber music leading to the development of the quintet. The second chapter discusses the first compositions for this ensemble and their composers. An appendix provides musical examples illustrating the use of the instruments in the early woodwind quintets.

This lecture-recital paper deals with some of the music of the early 1900's, examining both original xylophone solos and piano rags arranged for the xylophone. An attempt is made to identify the role of the xylophone in ragtime music and its implications for the present day xylophonist. In this investigation a brief history of ragtime music is presented along with the history of the xylophone. The history of ragtime is traced from its beginnings around 1890 to its decline during the 1930's, developing from cakewalks and folk rags into its various styles of Classic rags, Popular rags, Advanced rags, and Novelty rags. The history of the xylophone is traced from the middle ages to its emergence as an orchestral instrument, popularized by a Polish Jew named Michael Josef Gusikov during the early 1800"s. The popularity of the xylophone in the United States increased along with that of ragtime music; from approximately 1890 to 1935 the xylophone experienced what most refer to as its "golden age." Many solos for the instrument, both original and transcribed, were published toward the end of this era. As the popularity of the xylophone declined, these solos went out of print.

No description available.

The purpose of this study was to examine pedagogical practices of an Indian music professor, or guru, who teaches an Indian music ensemble in a United States institution of higher learning. The role of the world music professor has been refined and redefined over the last decade. The guru-shishya paramparā system of teaching has reached a crossroad; new conditions challenge this approach. The focus of this study was to investigate, through the lens of the guru, tensions that exist between Indian pedagogy and Western pedagogy. The research design was a single-case ethnographic study that utilized participant observation in an Indian music ensemble class. I expanded Schippers’s (2009) Twelve Continuum Transmission Framework by adding aesthetics to the continuum of the framework. I used this framework as a tool to examine Indian music transmission, through a distinct pedagogical viewpoint of a guru leading a non-Western music ensemble. In this study I noted factors that influence world music transmission in Indian music education at the School of Jazz and Contemporary Music at The New School. Information regarding attitudes and the reasons for certain pedagogical practices in Indian music education can provide insight to ensemble instructors and to administrators interested in building Indian music programs. This research has implications outside of Indian music education and for music department directors interested in expanding music programs.

No description available.

Music participation, specifically in an ensemble setting, is known to promote learning and social skills and to contribute to a well-rounded overall education. With this in mind, this qualitative, constructivist grounded theory study explored the impacts that participating in chorus, band, or orchestra has on students’ overall experience in middle school, with a focus on joy and identity development. The researcher interviewed fifteen students about their personal experiences and feelings about their lives as middle schoolers and musicians. The findings, shared in six theoretical concepts tied to the research question, reveal important facets of these students’ experiences that shed light on the value of music education and ensemble opportunities at the middle school level. The discourse shared by the participants communicates to educators and other stakeholders how critical music is to their individual and school lives, and how different the experience might be without it.

Diploma thesis named The Music History of Bystřice nad Pernštejnem deals with the music history of the town up to the present. Diploma work is focused on famous persons of music of the town (Josef Kšica, Josef Vašica, Miloslav Ištvan) and activities of instrumental and vocal music ensembles. A practical part examines a relantionschip of present- day children with music and knowledge of contemporary the music ensembles of town. A practical part is solved by questionnaire. KEYWORDS history present a music ensembles a person of music culture Bystřice nad Pernštejnem

Résumé This graduation thesis The City of Čelákovice and the prominent figures of the local musical life deals with the town's history and culture, focusing mainly on the prominent figures, orchestras and other bodies of the local musical life. The paper is divided into six chapters. The introduction is dedicated to the birth and development of the city, the second chapter introduces various cultural institutions. The remaining chapters focus on the main topic of the thesis. Special attention is given not only to the prominent baroque composer Jan Zach, or to Bohumír Hanžlík, a celebrity on the current musical scene, but also to other less prominent people who left the mark on the city's musical history. The contents and focus of the paper make it especially suitable to those interested in the town of Čelákovice, its culture, prominent figures and musical history.

The diploma thesis deals with Music education and culture and with the significant personalities in Brandýs nad Labem - Stará Boleslav. It maps the continuity between the past and the present through scanning bibliographic sources and interviews with nine significant personalities. Actual needs of Music education in the present and future such as the direction of music culture in the local region result from the findings in the practical part of the diploma thesis.

No description available.