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Dagens mellan- och högstadieelever lever i en digitaliserad värld där smartphones och surfplattor är en självklarhet. Samtidigt har applikationer för musikskapande blivit fler och bättre, och musikundervisning med digitala verktyg finns idag med i det centrala innehållet i kursplanen för ämnet musik i grundskolan. Syftet med uppsatsen var att ta reda på i vilken utsträckning mellan- och högstadieelevers digitala litteracitet med surfplattor och smartphones kan användas som redskap i musikundervisning samt vad de digitala verktygen kan erbjuda elever och deras lust att musicera. Utifrån ett sociokulturellt perspektiv och med fokus på lärande och medierande verktyg undersöktes mellan- och grundskoleelevers tillgång till, erfarenhet av, och lust att musicera med surfplattor och smartphones. Detta gjordes genom en kvantitativ enkätundersökning där 222 elever från fem olika skolor runt om i Sverige agerade respondenter. Resultatet visade att de allra flesta mellan- och högstadieelever har tillgång till en surfplatta eller smartphone och att de också använder redskapet dagligen. Dock var det endast en liten minoritet som hade erfarenhet av att skapa musik och spela virtuella instrument på surfplatta och smartphone. Detta mynnade ut i en diskussion där musiklärarens roll i att presentera surfplattor och smartphones som medierande redskap lyfts som viktig. Läraren bör ge eleverna ett sociokulturellt sammanhang där surfplattor och smartphones är medierande redskap och eleverna hittar meningserbjudanden även för musikskapande i artefakten.

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The purpose of the project was to determine if two Junior High band student trainees could accurately evaluate the performance of individual band students from a pre-selected method book. Band students would record specific musical exercises which were evaluated by two student trainees and the band director. The purpose of the project was to check the reliability between the student trainees and the director.

Luis Serrano Alarcón is one of the most important and relevant composers of our time. He is sought after as a composer, lecturer, and conductor throughout the world. His works have been performed in over 30 countries worldwide by some of the leading musical ensembles in the United States, Europe, and Asia, as well as being highly decorated by winning many prestigious composition contests including the International Band Competition Contest of Corciano, Italy. Born in Valencia, Spain, Alarcón is relatively self-taught in composition, which is a testament to his natural-born gift for composition. His compositional output ranges from the traditional Spanish pasodoble to chamber music, solo pieces, and sophisticated masterpieces for orchestra and wind ensemble. His work Duende: Four Preludes for Symphonic Wind Ensemble was commissioned by the University of St. Thomas Wind Ensemble, Minnesota (USA) in 2010. From its premiere, it became an extremely popular piece among wind band conductors. Duende’s appeal can be attributed to its fusion of Spanish popular music, the symphonic energy of Manuel de Falla’s scores, Iberia by the Spanish composer Isaac Albeniz, and the presence of jazz and Latin music. A detailed conductor’s guide will be provided in this document that includes but not limited to an analysis of form and structure for each movement, conducting considerations, and rehearsal suggestions and techniques. Last but not least, an in-depth exploration into the composer’s background, Spanish musical influences, and the Spanish Band movement and traditions has been conducted. Through this process, an uncovering of intriguing and relevant points of interest have come to the surface. Alarcón’s music sounds the way it does and appeals to the masses because of the juxtaposition of its infectious, Spanish musical elements, as well as its traditional symphonic music components. Moreover, the long and historical past, culture, and traditions of Spanish Bands creates an enormous influence and motivation to compose for the wind band genre. More than two-thirds of all municipalities in Valencia, Spain have musical societies that serve as sponsors for the bands and other ensembles, provide music education, and function as a social center to the townspeople. They are also supported by the Valencian Federation of Musical Societies, all branches of government, the business community, and the media. The musical ensembles participate in both non-competitive and competitive performance activities. Non-competitive performances include concerts, wind band festivals, honor bands, and massed bands. Wind band competitions are sponsored at the municipal, provincial, regional, and international levels. Many of these performance types are combined for special celebrations like patron saint holidays, including Las Fallas and Moros y Cristianos.

The purpose of this study is to provide an introduction and analysis of Harvest Festival, a work for piano four hands by Taiwanese composer Yann-Jong Hwang. This work incorporates elements of traditional Taiwanese music that is largely unfamiliar to performers and listeners beyond the border of Taiwan. With the exception of Professor Hwang’s own journal article on this piece, this project is the only study of Harvest Festival available in the United States or Taiwan. This research will be meaningful to both performers and piano teachers as an encouragement to include Yann-Jong Hwang’s work within their concert repertory. This document examines the background of Yann-Jong Hwang; briefly introduces Taiwan, the Amis tribe, and the Harvest Festival event; provides a structural analysis of all four sections of Harvest Festival; and concludes with an appendix consisting of a complete score of Harvest Festival.

ŘEZNÍČKOVÁ, M. Contemporary music studies at the University of St. Thomas in Minnesota in comparison with the study of music in the Czech Republic. Prague 2014. Dissertation. Charles University in Prague. College of education. Department of Music Education. Keywords: study, music, pedagogy, Czech Republic, United States of America, Charles University, University of St. Thomas Master thesis titled "Contemporary music studies at the University of St. Thomas in Minnesota in comparison with the study of music in the Czech Republic" introduces the study on two different continents. At first it concerns with the general system of education in the USA at the primary schools, high schools and universities; then with the comparison of American music education system with the Czech system. The next chapter focuses on the University of St. Thomas and on the concrete specification of music studies. The last part of the thesis pays close attention to the specific comparison of selected disciplines within the approbation of music teacher. The main goal of the master thesis is to create a comprehensive overview of the American education system, subsequent comparison of musical education at the University of St. Thomas in Minnesota with the system at the pedagogical faculty of the Charles University and then the...

Singing school teachers, who teach rural church congregations to sing from shape-note gospel songbooks, are still working in southcentral Kentucky, but the demand for them is smaller than it was in the first half of the twentieth century. The interdependence network in which singing school teachers, songbook publishers, and community singing events were key parts began to weaken in the 1940s as a result of the growth in popularity of professional gospel quartet concerts and gospel record albums. Many gospel music enthusiasts who once looked to songbooks as a major source for new material and for developing singing skills turned to albums and concerts in the 1940s. Singing school teachers began to be called on less frequently. The first three chapters of this thesis contain an overview of the gospel singing events, the songbook publishers, and the singing schools. The nature of the relationship between these three gospel music institutions is established. In the fourth chapter, I profile three singing school teachers of southcentral Kentucky. In the conclusion, the development of popular religious music since the early 1800s is summarized and the importance of researching Southern white gospel music as a step toward a greater understanding of Southern music traditions as a whole is examined.

What personal traits are desirable in the band director? What educational qualifications should be required? How much experience should he have before assuming the position of college band director? What should be the organization of the component parts of the band? Who should compose the personnel? What credit should be given for such services? Who should support the organization and supply such equipment as uniforms, library, and instruments?