This study focuses on the soloist's path to direct musical communication. Through a subjective questionnaire, thirty-eight flute soloists describe their experiences performing concertos (flute with orchestra) in the traditional concert hall setting. With an emphasis on clarifying the most meaningful musical moments in performance, and identifying the important strategies and procedures these artists use to optimize performances, this study additionally includes a brief discussion about collaboration (involving a specific performer/composer relationship), and a sample of a performer's self-observations while performing a movement of the Christopher Rouse Flute Concerto. This primary source study endeavors to supply useful information for the aspiring soloist and the advanced or professional level flutist, as well as preliminary data about artists' experiences of optimal performance and communication with an audience for the purpose of potentially contributing to future interdisciplinary research associated with music. Compared to research on listening, relatively few scientific studies examine the performance of music from the performer's perspective. By giving world-class performing musicians a voice - using their actual words to describe what they think and how they feel, especially during optimal performances - this author hopes that future neuroscientific and psychological researchers might, through new interdisciplinary experiments involving music performance, learn more about how music and the brain work. The growing potential in this type of interdisciplinary research may provide greater insight into the most profound benefits of music and its significant power and importance in all human cultures.

This essay examines the persuasive side of music and its affect on consumer behavior when utilized in television commercials. It includes an interpretation of twelve study cases, in which three groups of four people is presented the same commercial, with different music being the only item dividing the groups. This is followed by a few questions about the product. The aim is then to see how the answers differ from one group to another, and how they match the music’s presupposed connotations suggested in the theory part of the essay, thus, observing the communicative, and eventually persuasive, power of music in television commercials. The main question is: how might music utilized in a television commercial power people’s opinions about the product in that commercial. The results show how music may alter people’s opinions about the product in the commercial, and that the interviewees’ opinions, in most cases, match the music’s presupposed connotations. The study’s results confirm what was previously found by Adolfsson in 2007. By comparing results from then and now it adds to the understanding of musical meaning in everyday life.

No description available.

The thesis deals with the evolution of musical communication, competencies and offers a research method for study of these. In the first chapter, author's background, motivation and the chosen body of music is presented. The second chapter briefly summarizes the development of musical communication and of the main theoretical and research approaches to it in the Western society. The third chapter provides a research method of shared musical communication skills based on Italian scholar Gino Stefani's model of common musical competence. In the fourth chapter this method is tested out on a sample of Czech musically uneducated population to prove wrong the common assumption that only a gifted and musically educated part of society is privileged to participate in the practices of musical communication.

L’objectif de la recherche est d’apporter une contribution musicologique et psychologique à la compréhension de la fonction de transformation symbolique non verbale intervenant au cœur de la psyché humaine. L’objet-flux musical, porté par une onde vibratoire, énergie en mouvement, n’est pas un objet naturel, mais un objet issu de la psyché humaine conçu pour agir sur d’autres psychés humaines. Il semblerait, et ce n’est qu’une hypothèse de travail, que le compositeur aurait la capacité de coder ses émotions en ondes musicales et de les transmettre à l’auditeur, sujet sensible à certaines longueurs d’ondes du penser musical, qui les décoderait. L’objet de la thèse est l’existence d’une communication infraverbale, intuitive, globale et directe entre une œuvre de musique non tonale et l’auditeur à travers l’étude de productions visuelles et de productions écrites, réalisées par cinquante-neuf sujets en situation d’écoute d’extraits musicaux de Stravinski et de Ligeti. Est-il possible d’élargir le domaine d’application du concept de schème de résonance émotionnelle d’Imberty à la musique de compositeurs du xxe siècle ? Quelles autres représentations psychiques sont investies par les sujets en situation d’écoute musicale ? / The objective of research is to make a musicological and psychological contribution to the understanding of not verbal symbolic transformation occurring in the heart of the human psyche. The musical object-flow, carried by a vibratory wave, an energy in movement, is not a natural object, but an object stemming from the human psyche conceived to act on the other human psyches. It would seem, and it is only a working hypothesis, that the composer would have the capacity to code his feelings in musical waves and to pass on them to the auditor, subject sensitive to certain wavelengths of musical thinking, who would decode them. The object of the thesis is the existence of an infraverbale communication, intuitive, global and direct between not tonal music work and the auditor through the study of visual productions and written productions realized by fifty nine subjects in situation of listening musical extracts of Stravinski and Ligeti. Is it possible to widen the application field of Imberty’s concept, schème de résonance émotionnelle, into the xxe century music ? What other psychic representations are invested by the subjects in situation of musical listening ?

Individualized teaching in schools with children with learning disabilities is a prerequisite, in order to be able to convey knowledge and teaching in an educational and developing way. The purpose of this study is to explore how musical communication can be used in school's with children with learning disabilities in different ways and how teachers can create an individualized teaching through this, during the music lessons. The study's result describes the interviews that have been conducted that have occurred in varied locations around Sweden with teachers in the subject area music in learning disabilities. The result presents how teachers use musical communication in their teaching and in what way the teaching is tailored to the needs of the students to become developing. The discussion that is linked to the subject of the study focuses on individual adaptation and alternative ways in which the teacher can make use of it in order to obtain an educational teaching, in which the students are given the opportunity for an in-depth understanding and a developed knowledge.

Title: Educational Communication at Conservatoires and Its Specific Features Author: Petra Hádková Department: Czech Language Department Supervisor: doc. PhDr. Martina Šmejkalová, Ph.D. Consultant: PhDr. Ladislav Janovec, Ph.D. The objective of this thesis is to describe communication at conservatoires and its specific features. We applied the pedagogical, linguistic, and marginally also the musicological approach. The educational communication was described based on partial objectives. The first research part deals with research and description of communication structures where we were finding out what types of communication structures occur in the educational communication and what communication structures are represented the most. The second research part deals with research and description of communication (illocutionary) functions where we were interested in with what intents the teachers and pupils communicate and in what frequency. The third research part deals with humour in the educational communication. We were finding out what humour situations occur in the educational communication, i.e. what and why the teachers and pupils laugh at, who initiates the humour, who laughs at it, as to whether the humour is intentional or not, as to whether it is connected with the content of the...

Aquesta tesi recull la recerca al voltant de les pràctiques musicals mitjançant xarxes d'ordinadors realitzada al Grup de Tecnologia Musical de la Universitat Pompeu Fabra a Barcelona entre l'any 2001 i el 2005. Parteix del treball dut a terme durant la última dècada dins del camp del Treball Cooperatiu amb Ordinadors (Computer-Supported Cooperative Work, CSCW) el qual aporta els mecanismes de col·laboració els quals, des de un punt de vista musical, poden ser estudiats en diversos escenaris: composició, interpretació, improvisació i educació.La primera contribució d'aquest treball és un anàlisi exhaustiu i una classificació sistemàtica del Treball Cooperatiu amb Ordinadors per Aplicacions Musicals. Aquest anàlisi es va centrar en la identificació de propostes innovadores, models i aplicacions, amb un especial èmfasi en la natura compartida de la comunicació mitjançant internet. El concepte d'Entorns Sonors Compartits va ser presentat i implementat en una aplicació prototip anomenada Public Sound Objects (PSOs).La segona gran contribució d'aquesta tesi consisteix en l'estudi del possibles mètodes per reduir les interrupcions degudes als retards inherents en la comunicació musical entre xarxes molt allunyades. A partir de l'experimentació i avaluació al laboratori les tècniques Network Latency Adaptive Tempo i Individual Delayed Feed-Back van ser definides i implementades dins del prototip PSOs.Al llarg del desenvolupament del PSOs es van haver de resoldre altres problemes, com per exemple, el disseny d'interfícies en funció del comportament per a aplicacions amb interfícies desacoblades, la superació dels diversos sistemes de seguretat de les xarxes informàtiques i les possibilitats d'escalabilitat de diverses aplicacions d'àudio per a web.Durant l'elaboració d'aquesta tesi es van discutir diferents perspectives per resoldre problemes relacionats amb la pràctica musical mitjançant ordinadors, aplicant diferents punts de vista provinents de l'estudi psicosocial dels processos de col·laboració musical al món de la informàtica i de la tecnologia musical. / This dissertation derives from research on musical practices mediated by computer networks conducted from 2001 to 2005 in the Music Technology Group of the Pompeu Fabra University in Barcelona, Spain. It departs from work carried out over the last decades in the field of Computer-Supported Cooperative Work (CSCW), which provides us with collaborative communication mechanisms that can be regarded from a music perspective in diverse scenarios: Composition, Performance, Improvisation or Education.The first contribution originated from this research work is an extensive survey and systematic classification of Computer-Supported Cooperative Work for Music Applications. This survey led to the identification of innovative approaches, models and applications, with special emphasis on the shared nature of geographically displaced communication over the Internet. The notion of a Shared Sonic Environments was introduced and implemented in a proof-of-concept application entitled Public Sound Objects (PSOs).A second major contribution of this dissertation concerns methods that reduce the disrupting effect of network latency in musical communication over long distance networks. From laboratorial experimentation and evaluation, the techniques of Network Latency Adaptive Tempo and Individual Delayed Feed-Back were proposed and implemented in the PSOs prototype.Over the course of the PSOs development other relevant and inspirational issues were addressed, such as, behavioral-driven interface design applied to interface decoupled applications, the overcome of network technology security features and system scalability for various applications in audio web services.Throughout this dissertation conceptual perspectives of related issues to computer-mediated musical practices dissertation were widely discussed, conveying different standpoints ranging from a Psycho-Social study of collaborative music processes to the Computer Science and Music Technology point of view.