O presente estudo visou investigar a qualidade da execução instrumental por meio do excerto orquestral do Prélude à l´après-midi d´um faune, de Claude Debussy e sua relação com a ansiedade de performance musical de estudantes de flauta. O pressuposto teórico utilizado para a avaliação da qualidade da execução instrumental encontra-se baseado no Modelo de Processo de Avaliação da Execução Musical, de McPherson & Thompson (1998), enquanto que a ansiedade de performance musical está subsidiada pelo modelo tríplice, desenvolvido por Wilson & Roland (2002) e Valentine (2002), além da Teoria Cognitiva da Ansiedade, de Beck & Clark (1997). Para a metodologia, utilizou-se a abordagem mista de caráter semi experimental, cujos sujeitos são estudantes de flauta dos cursos de Bacharelado em Música de Instituições de Ensino Superior do Brasil. O procedimento semi experimental consistiu na realização de uma tarefa musical gravada em áudio, em situações de performance musical distintas, precedido pela coleta de dados por meio de instrumentos de autoavaliação psicológica e aferição de medidas fisiológicas, conforme protocolo de coleta de dados. Cinco flautistas profissionais avaliaram a qualidade da execução instrumental a partir das gravações e por meio de uma Escala de Avaliação para a Execução na Flauta, proposta no presente estudo. A análise de dados ocorreu em duas etapas: na qualitativa, analisou-se o conteúdo dos comentários dos avaliadores diante da execução dos estudantes de flauta; e na quantitativa, analisou-se, por estatística descritiva e não paramétrica, as associações entre a qualidade da execução instrumental, por intermédio das competências técnicas e interpretativas da flauta, e a ansiedade de performance musical. Os resultados apontaram uma relação direta e não proporcional, apresentando melhora da qualidade na execução instrumental no estudo individual e redução dos sintomas de ansiedade na audição. A afinação e o timbre foram as competências técnicas e interpretativas mais influenciadas negativamente pela ansiedade. No entanto, foi na acurácia rítmica que a maioria dos estudantes de flauta se mostrou menos proficiente. Por fim, a expertise musical e o conhecimento prévio do solo de flauta demonstraram relevância tanto na proficiência técnica e interpretativa no instrumento quanto na redução da ansiedade de performance musical. / This study aimed at investigating the quality of instrumental performance through the orchestral excerpt of Prélude à l´après-midi d´un faune by Claude Debussy and its relationship to music performance anxiety experienced by flute students. The theoretical premise employed in the assessment of the quality of instrumental performance is based on the Process Model of Assessing Music Performance by McPherson & Thompson (1998). For music performance anxiety, we used the triple model developed by Wilson & Roland (2002) and Valentine (2002), as well as Beck & Clark´s Cognitive Theory of Anxiety (1997). The methodology consisted of a mixed approach and semi-experimental in character directed at flute students enrolled in courses of Bachelor of Music at Brazilian universities. The semi-experimental procedure comprised in a musical task recorded in audio in different situations of musical performance preceded by data collection through the psychological instruments of self-evaluation and physiological measures according to the protocol of data collection. Five Brazilian professional flute players assessed the quality of instrumental performance from the recordings by means a Flute Performance Rating Scale, proposed for this study. Data analysis occurred in two steps. While the qualitative part analyzed the content of the assessors' comments to flute students, and the quantitative examined the correlation between the quality of musical performance through the technical and interpretative skills of flute playing and music performance anxiety by descriptive and non-parametric statistics. The results indicate a direct and non-proportional relationship, presenting an improvement in the quality of instrumental performance in the individual practicing session and a reduction of the music performance anxiety in the audition. Intonation and timbre were the technical and interpretative skills most negatively influenced by anxiety. However, most of the flute students were considered non-proficient in rhythmic accuracy by the judges. Finally, the level of musical expertise and previously knowledge of the orchestral excerpt were shown to be relevant both in the proficiency of flute playing and in the reduction of the experienced music performance anxiety. / El objetivo de este estudio fue investigar la calidad de la ejecución instrumental a través del extracto orquestal de Prélude à l'après-midi d'un faune de Claude Debussy y su relación con la ansiedad de actuación musical de los estudiantes de flauta. La presuposición teórica empleada en la evaluación de la calidad de la ejecución instrumental se basa en el Modelo de Proceso de Evaluación de la Ejecución Musical de McPherson y Thompson (1998), mientras que para la ansiedad de la actuación musical en el modelo triple desarrollado por Wilson & Roland (2002) y Valentine (2002), y la Teoría Cognitiva de la Ansiedad de Beck y Clark (1997). La metodología consistió en un enfoque mixto y de carácter semi-experimental, cuyos sujetos son estudiantes de flauta matriculados en cursos de Licenciatura en Música en universidades brasileñas. El procedimiento semi experimental consistió en la realización de una tarea musical grabada de audio bajo distintas situaciones de actuación musical, precedido por la recolección de datos a través de instrumentos de autoevaluación psicológica y evaluación de medidas fisiológicas cumpliendo con protocolo de recolección de datos. Cinco flautistas profesionales evaluaron la calidad de la ejecución instrumental de las grabaciones por medio de una Escala de Evaluación para la Ejecución en la Flauta, propuesto para este estudio. El análisis de datos se produjo en dos etapas: en la cualitativa analizó el contenido de los comentarios de los evaluadores a los estudiantes de flauta y en la cuantitativa se analizó por estadística descriptiva y no paramétrica la correlación entre la calidad de la ejecución instrumental por medio de las habilidades técnicas e interpretativas de la flauta y la ansiedad de la actuación musical. Los resultados revelan una relación directa y no proporcional, que presenta una mejora en la calidad de la ejecución instrumental en el estudio individual y la reducción de los síntomas de ansiedad en la audición. La entonación y el timbre fueron las habilidades técnicas e interpretativas más influenciadas negativamente por la ansiedad. La mayoría de los estudiantes de flauta fueron considerados no-competentes en precisión rítmica por los jueces. Por último, el nivel de la pericia musical y el conocimiento previo del extracto orquestal demostraron pertinencia en la habilidad técnica e interpretativa en el instrumento y para reducir la ansiedad en la actuación musical.

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.

O presente estudo visou investigar a qualidade da execução instrumental por meio do excerto orquestral do Prélude à l´après-midi d´um faune, de Claude Debussy e sua relação com a ansiedade de performance musical de estudantes de flauta. O pressuposto teórico utilizado para a avaliação da qualidade da execução instrumental encontra-se baseado no Modelo de Processo de Avaliação da Execução Musical, de McPherson & Thompson (1998), enquanto que a ansiedade de performance musical está subsidiada pelo modelo tríplice, desenvolvido por Wilson & Roland (2002) e Valentine (2002), além da Teoria Cognitiva da Ansiedade, de Beck & Clark (1997). Para a metodologia, utilizou-se a abordagem mista de caráter semi experimental, cujos sujeitos são estudantes de flauta dos cursos de Bacharelado em Música de Instituições de Ensino Superior do Brasil. O procedimento semi experimental consistiu na realização de uma tarefa musical gravada em áudio, em situações de performance musical distintas, precedido pela coleta de dados por meio de instrumentos de autoavaliação psicológica e aferição de medidas fisiológicas, conforme protocolo de coleta de dados. Cinco flautistas profissionais avaliaram a qualidade da execução instrumental a partir das gravações e por meio de uma Escala de Avaliação para a Execução na Flauta, proposta no presente estudo. A análise de dados ocorreu em duas etapas: na qualitativa, analisou-se o conteúdo dos comentários dos avaliadores diante da execução dos estudantes de flauta; e na quantitativa, analisou-se, por estatística descritiva e não paramétrica, as associações entre a qualidade da execução instrumental, por intermédio das competências técnicas e interpretativas da flauta, e a ansiedade de performance musical. Os resultados apontaram uma relação direta e não proporcional, apresentando melhora da qualidade na execução instrumental no estudo individual e redução dos sintomas de ansiedade na audição. A afinação e o timbre foram as competências técnicas e interpretativas mais influenciadas negativamente pela ansiedade. No entanto, foi na acurácia rítmica que a maioria dos estudantes de flauta se mostrou menos proficiente. Por fim, a expertise musical e o conhecimento prévio do solo de flauta demonstraram relevância tanto na proficiência técnica e interpretativa no instrumento quanto na redução da ansiedade de performance musical. / This study aimed at investigating the quality of instrumental performance through the orchestral excerpt of Prélude à l´après-midi d´un faune by Claude Debussy and its relationship to music performance anxiety experienced by flute students. The theoretical premise employed in the assessment of the quality of instrumental performance is based on the Process Model of Assessing Music Performance by McPherson & Thompson (1998). For music performance anxiety, we used the triple model developed by Wilson & Roland (2002) and Valentine (2002), as well as Beck & Clark´s Cognitive Theory of Anxiety (1997). The methodology consisted of a mixed approach and semi-experimental in character directed at flute students enrolled in courses of Bachelor of Music at Brazilian universities. The semi-experimental procedure comprised in a musical task recorded in audio in different situations of musical performance preceded by data collection through the psychological instruments of self-evaluation and physiological measures according to the protocol of data collection. Five Brazilian professional flute players assessed the quality of instrumental performance from the recordings by means a Flute Performance Rating Scale, proposed for this study. Data analysis occurred in two steps. While the qualitative part analyzed the content of the assessors' comments to flute students, and the quantitative examined the correlation between the quality of musical performance through the technical and interpretative skills of flute playing and music performance anxiety by descriptive and non-parametric statistics. The results indicate a direct and non-proportional relationship, presenting an improvement in the quality of instrumental performance in the individual practicing session and a reduction of the music performance anxiety in the audition. Intonation and timbre were the technical and interpretative skills most negatively influenced by anxiety. However, most of the flute students were considered non-proficient in rhythmic accuracy by the judges. Finally, the level of musical expertise and previously knowledge of the orchestral excerpt were shown to be relevant both in the proficiency of flute playing and in the reduction of the experienced music performance anxiety. / El objetivo de este estudio fue investigar la calidad de la ejecución instrumental a través del extracto orquestal de Prélude à l'après-midi d'un faune de Claude Debussy y su relación con la ansiedad de actuación musical de los estudiantes de flauta. La presuposición teórica empleada en la evaluación de la calidad de la ejecución instrumental se basa en el Modelo de Proceso de Evaluación de la Ejecución Musical de McPherson y Thompson (1998), mientras que para la ansiedad de la actuación musical en el modelo triple desarrollado por Wilson & Roland (2002) y Valentine (2002), y la Teoría Cognitiva de la Ansiedad de Beck y Clark (1997). La metodología consistió en un enfoque mixto y de carácter semi-experimental, cuyos sujetos son estudiantes de flauta matriculados en cursos de Licenciatura en Música en universidades brasileñas. El procedimiento semi experimental consistió en la realización de una tarea musical grabada de audio bajo distintas situaciones de actuación musical, precedido por la recolección de datos a través de instrumentos de autoevaluación psicológica y evaluación de medidas fisiológicas cumpliendo con protocolo de recolección de datos. Cinco flautistas profesionales evaluaron la calidad de la ejecución instrumental de las grabaciones por medio de una Escala de Evaluación para la Ejecución en la Flauta, propuesto para este estudio. El análisis de datos se produjo en dos etapas: en la cualitativa analizó el contenido de los comentarios de los evaluadores a los estudiantes de flauta y en la cuantitativa se analizó por estadística descriptiva y no paramétrica la correlación entre la calidad de la ejecución instrumental por medio de las habilidades técnicas e interpretativas de la flauta y la ansiedad de la actuación musical. Los resultados revelan una relación directa y no proporcional, que presenta una mejora en la calidad de la ejecución instrumental en el estudio individual y la reducción de los síntomas de ansiedad en la audición. La entonación y el timbre fueron las habilidades técnicas e interpretativas más influenciadas negativamente por la ansiedad. La mayoría de los estudiantes de flauta fueron considerados no-competentes en precisión rítmica por los jueces. Por último, el nivel de la pericia musical y el conocimiento previo del extracto orquestal demostraron pertinencia en la habilidad técnica e interpretativa en el instrumento y para reducir la ansiedad en la actuación musical.

It is now broadly accepted that Vaughan Williams's music betrays a more complex relation to national influences than has traditionally been assumed. It is argued in this thesis that despite the trends towards revisionism that have characterized recent work, Vaughan Williams's interest in and engagement with English folk materials and cultures remains only partially understood. Offering contextual interpretation of materials newly available in the field, my work takes as its point of departure the critical neglect surrounding Vaughan Williams's contradictory compositional debut, in which he denounced the value of folk song in English art music in an article published alongside his song 'Linden Lea', subtitled 'A Dorset Folk Song'. Reconstructing the under-documented years of the composer's early career, it is demonstrated that Vaughan Williams's subsequent 'conversion' and lifelong attachment to folk song emerged as part of a broader concern with the intelligible and participatory quality of song and its performance by the human voice. As such, it is argued that the ways in which this composer theorized an idea of 'song' illuminate a powerful perspective from which to re-consider the propositions of his project for a national music. Locating Vaughan Williams's writings within contemporaneous cultural ideas and practices surrounding 'song', 'voice', and 'Englishness', this work brings such contexts into dialogue with readings of various of the composer's works, composed both before and after the First World War. It is demonstrated in this way that the rehabilitation of Vaughan Williams's music and reputation profitably proceeds by reconstructing a complex dialogue between his writings; between various cultural ideas and practices of English music; between the reception of his works by contemporaneous critics; and crucially, by considering the propositions of his music as explored through analysis. Ultimately, this thesis contends that Vaughan Williams's music often betrays a complex and self-conscious performance of cultural ideas of national identity, negotiating an optimistic or otherwise ambivalent relationship to an English musical tradition that is constructed and referenced through a particular idea of song.

Keywords music, immigration, asylum seekers in Czech republic, theatre, audience, medial mening, performance, xenofoby, globalization, postmodernism, cultural antropology, cultural and medial studies, semiotics Summary The aim of this thesis is describe and analyse a music, which cohere with refugees and the other forms of immigration in Czech republic. Concretely is about the music, which originate from Archa Theatre. This theatre is few years attending to the theme of immigration and refugees. The aim of this thesis is analyse the concept of "refugee music" created by Archa Theatre. In this music performance cooperate the asylum seekers and the czech and foreign professional artists altogether. I want to describe for what reason this music concept was created, how this artistically cooperation is proceeding, which meaning the particular musicians consider in this concept and which meaning of this music should be adress to audience. Simultaneously this music is set in the context of the complex artistic production with immigration themes of Archa Theatre. The another intention of this thesis is to show, which meanings of this music and the relative artistic production find the audience. I analyse in which way the audience is influenced with this production and also if is possible in this way to form the...

After the premiere of Don Giovanni in Prague, Wolfgang Amadeus Mozart and Lorenzo Da Ponte brought their opera to Vienna on May 7, 1788. One point of interest in the Viennese version of the score is the added duet “Per queste tue manine.” In this duet, the enraged Zerlina overpowers the bewildered servant Leporello with a handkerchief, a razor, and passion. She constrains the floundering fool and punishes him for his misconduct. In most modern performances, companies look no further than the Prague version of the score. Additionally, singers often portray Zerlina as either a mischievous temptress or a virginal peasant girl. Since modern opera companies often dismiss the Viennese score of Don Giovanni as insignificant and scholars often deem the role of Zerlina as simplistic, a holistic analysis of the role of Zerlina is needed. Viewing the interpretations of her character by Kristi Brown-Montesano and Wye Jamison Allanbrook through the lens of eighteenth-century gender politics and my own musical and literary interpretations results in a more complete understanding of the peasant girl. Through an analysis of the Viennese version of Zerlina’s character, I contend that Zerlina functions as a mirror-image foil to Don Giovanni. As Zerlina gains autonomy through the control of her own body, the Don loses his power over others and eventually his own life. This multi-dimensional understanding of Zerlina’s character is only possible if “Per queste tue manine” is taken into consideration.

As a popular historic work with constant and worldwide performances, the sexist and racist narratives disseminated by Giacomo Puccini's opera Madama Butterfly causes harmful social and political ramifications. Many scholars point to this opera specifically when discussing the fetishization of Asian females, and mention the title character as the quintessential example of damaging stereotypes. Thus, I conduct a postcolonial and feminist reading of Madama Butterfly, through analysis of the opera's libretto, the libretto sources, and the opera's score. I unravel the Orientalist assumptions that make up the foundation of the Butterfly narrative, and trace them as they make their way into Puccini's opera. I re-read Madama Butterfly as a metaphor for imperialism, and its effects on the colonized psyche. I examine Lieutenant Pinkerton and Butterfly's characters with specific attention to the power dynamics of their relationship in the context of colonization. I emphasize gender, race, and class tensions evident within the white male and white female gazes on the bodies of third world women of color. I present Puccini's musical choices in the operatic score as supplementary to my postcolonial-feminist reading. Puccini's use of pentatonic scales to evoke "Oriental" sounds, as well as his appropriation of Japanese folk tunes and "The Star Spangled Banner" into the score serve to supplement my basic contentions that Madama Butterfly is a product of Oriental discourse and a metaphor for imperialism and its effect on the colonized psyche.

<p>This work looks at the intersections of nature, race, and spirituality in Black communities primarily situated in the United States from the early 20th century to the present day. These communties stories are interpreted through the Black women that lived in them, and their stories denote that Black folks' relationship with and amongst nature could not be had without spiritual praxes in their day-to-day lives. </p>

The Study & Sing curriculum is designed (1) to provide homeschooling high school students with a music resource that is easy to access and incorporate within their homeschool environment; (2) to facilitate meaningful and effective music instruction by designing a music class for a qualified music teacher to use within cooperative homeschool groups; (3) to offer homeschooling families a comprehensive music class that closely follows the National Core Arts Standards for music education; and (4) to provide a music class for homeschool co-op students that offers a comprehensive design and fosters collaborative music experiences by integrating a performance component that corresponds with the academic music material. This curriculum is an eight-week unit study that explores Early-to-Mid American Music ranging from the 17th century to the early-20th century. The course will be offered synchronously in person within a homeschool cooperative setting and aligns with national music standards by offering a comprehensive approach that incorporates academic music components (Study) with corresponding music performance elements (Sing). Class materials with be easily accessible, enabling students to download the course materials including listening examples, weekly presentations, and links for sheet music, and music teachers will be able to access and download weekly lesson plans with guided instruction and slide presentations. Student comprehension of the unit study material will be assessed through integrated activities and corresponding quizzes during weeks 2-7 and individual prepared presentations in week 7. In the final week of the class, students will sing together in a multi-part choral ensemble and will perform music arrangements adapted from original melodies that they learned and practiced together during the unit study.

Text in English, abstracts in English and Zulu / This thesis explores the current state of marimba music performance practice in Zimbabwe. I begin by presenting a historical perspective of the marimba, and then discuss how the Zimbabwe marimba tradition came into being at Kwanongoma College of African Music in Bulawayo. The study continues to unveil how the relatively new marimba tradition has grown to popularity in its 55-year history in the country, with the phenomenal emergence of professional Zimbabwe marimba musicians. The thesis includes analyses of marimba musicians’ lived experiences, traditional and contemporary marimba music compositions, marimba music education programs and mentors, as well as the Zimbabwe marimba construction industry. Using ethnographic methods, the analysis in this qualitative study draws on an application of Christopher Small, Richard Schechner, and Pierre Bourdieu’s theoretical perspectives, amongst others. Results show that marimba music performance practice in Zimbabwe has been kept alive in various permutations, albeit in a harsh economic environment. Education, passion for marimba music, cultural tourism, and festivities are the main avenues where Zimbabwe marimba music performance practice has survived on the margins of Zimbabwe’s popular musical cultural traditions. / Le thesis ihlola isimo samanje somculo wemarimba kanye nokuqhutshwa kwawo eZimbabwe. Ngiqala ngokwethula imibono yezomlando ngemarimba, ebese ngixoxa ngokuthi ngabe usiko lwenkambiso yemarimba eZimbabwe lwaqhamuka kanjani eKwanongoma College of African Music eBulawayo. Ucwaningo luqhubeka luveze ukuthi umculo wemarimba omusha usheshe kangakanani ukukhula nokuba nedumela kumlando weminyaka engu 55 ezweni, kanti futhi nokwenza ukuthi abaculi bemarimba eZimbambwe basebenze ngesiprofeshini. Le thesis ibandakanya ukuhlaziya izipiliyoni zabaculi bemarimba, usiko kanye nokuqanjwa komculo wemarimba, izinhlelo zemfundo yomculo wemarimba kanye nabaqeqeshi abafundisa abasha emculweni, kanye nokwakhiwa kwemboni yomculo wemarimba eZimbabwe. Ukusebenzisa izindlela zesayense yokuchaza abantu eyaziwa ngokuthi yi-ethnography, uhlaziyo kulolu cwaningo olubheka kanzulu, lufunde nokuchaphuna kwimibono yochwepheshe yethiyori yabantu abafana no-Christopher Small, uRichard Schechner kanye no-Pierre Bourdieu phakathi kwabanye. Imiphumela ikhombisa ukuthi ukwenziwa komculo wemarimba eZimbabwe wenziwe ukuthi uqhubeke ngokusebenzisa inqubo yokuhlela izinto ngokuhambelana noma inqubo ye-permutations, kodwa ngaphansi kwesimo esinzima kwezomnotho. Imfundo, ugqozi lomculo wemarimba, inqubo yezovakasho lokufunda ngamasiko kanye nemicimbi ngenye yezindlela lapho khona umculo wemarimba eZimbabwe oboniswa khona nokwaze ukuqhubeka ngayo, nangendlela esetshenzisiwe ukwenza ukuthi umculo uqhubeke nokuba nedumela ngisho nangaphansi kwesimo esinzima eZimbabwe. / Art History, Visual Arts and Musicology / D. Litt. et Phil. (Musicology)