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ABSTRACT A COMPARATIVE ANALYSIS OF SENSE OF BELONGING AS A PART OF IDENTITY OF THE COLONIZER AND THE COLONIZED IN THE GRASS IS SINGING AND MY PLACE Cansu G&ouml / ktan M.A., in English Literature Supervisor: Assist. Prof. Dr. Margaret S&ouml / nmez May 2010, 205 pages This thesis investigates how two loosely autobiographical works unveil the effects of colonization on their major characters in terms of their identities and senses of belonging. The Grass Is Singing by Doris Lessing, a second-generation member of the colonizer, and My Place by Sally Morgan, a third-generation hybrid Australian Aborigine, are selected because both novels essentially deal with colonial issues by depicting their major characters in a process of maturation within a colonial and post-colonial framework, the former using a semi-autobiographical narrative tone and the latter using an Aboriginal version of autobiography, which integrates oral tradition and storytelling. These two books reveal that a sense of identity is closely related to a sense of belonging and that both are fundamentally affected by the colonial situation. The effects of a sense of identity and a sense of belonging, which boil down to the demise or survival of the individual, interacts with family and society, physical environment, and race issues that the thesis investigates by dedicating a chapter to each. The method used in this point-by-point comparative analysis is to approach the issues of sense of belonging and identity in a colonial context with a close reading of the two works, to find out what the texts say for themselves regarding the effect of family and society, environment, and race as depicted in The Grass Is Singing and My Place. The theoretical background that is most relevant to this study is post-colonial literary theory, although here it is taken as secondary to the close reading that is the thesis&rsquo / s primary approach to these works. Keywords: Doris Lessing The Grass Is Singing, Sally Morgan My Place, Colonial and Post-colonial Literature

Syftet med föreliggande studie är att utforska vad några sångelever på estetiskt program på gymnasiet anser motiverar dem under sånglektionerna. Metoden som använts är kvalitativa, halvstrukturerade intervjuer. Fyra gymnasieelever vid det estetiska programmet har intervjuats om deras motivation relaterat till de sånglektioner de får på respektive skola. Det teoretiska perspektivet som studien baseras på är ett motivationspsykologiskt perspektiv. I resultatet presenteras temat Att känna sig ”bra” som summerar informanternas berättelser om den ökade motivation de upplever då de känner sig bra på att sjunga. Ett annat tydligt tema som trädde fram i intervjuerna var sånglärarens påverkan på informanternas motivation, vilket presenteras i avsnittet Genuin lärar- elevrelation. I avsnittet Individualiserad lektionsform belyses informanternas åsikter kring vikten av individanpassade sånglektioner för att motivation ska kunna uppstå hos dem. Att arbeta mot mål tar upp informanternas samlade tankar om hur mål kan bidra till motivation. I diskussionsavsnittet diskuteras vad som motiverar sångelever under sånglektioner utifrån motivationspsykologiska aspekter med fokus på Att förklara framgång med förmåga, Positiv respons, Autonomi, och Individualiserande kommunikation. Avslutningsvis reflekterar jag över om en god lärar- elevrelation förenklar individualisering av sånglektioner och på så sätt ökar sångelevers motivation. / The purpose of this study is to investigate what motivates a small group of student singers during singing lessons in an Art High School programme. The method used is qualitative semi-structured interviews. High school students were interviewed individually about their motivation, in specific relation to the singing lessons they attended at their schools. The data is analysed from a motivational psychology perspective. In the result chapter the theme To “feel good” is presented, which summarizes the participant stories about the increasing motivation they experience when they feel good when singing. Another clear theme that emerged in the semi-structured interviews was singing teacher’s impact on the motivation of the participants, which is presented in the section Genuine teacher- student relationship. The results also give an insight into the importance of Individualised lessons and Working towards goals as a key influence on student motivation. The discussion focus on what motivates singing student during the singing lessons in relation to motivational psychology aspects, with a focus on Explaining success with capacity, Positive feedback, Autonomy and Individualizing communication. Finally this study analyses the correlation between student/teacher relationship, individualised singing lessons and student motivation.

Forskning visar hur musiken inverkar på människans totala välbefinnande och kapacitet. Det finns studier som påvisar samband mellan musik och prestation och statistiskt sett har musikklasser bättre studieresultat än andra klasser. I denna studie har undersökts hur gymnasieelever själva upplever körsången i skolan, och rent specifikt om körsången kan påverka deras totala studieprestation. Undersökningen fokuserar kring att få en djupare inblick i hur dessa elever ser att deras egen personliga utveckling hänger samman med körsången i skolan. Vilka egenskaper och förmågor utvecklar körsången? Detta har sedan kopplats till rådande forskning om motivation, prestation och framgång. Är det så att körsången bidrar till att höja elevens totala studieprestation? Resultatet visar att körsången har ett flertal effekter, varav flera kan anses vara prestationsgrundande. På ett översiktligt plan upplevs körsången som meningsfull, och ansvarstagandet är därför högt. Körsången stimulerar både mentalt och fysiskt, och genererar positiva emotioner vilket bidrar till tillfredsställelse och välbefinnande. Körsången uppfyller flera behov såsom behov av trygghet, gemenskap och uppskattning, vilket anses vara förutsättningar för att känna motivation till att prestera. Om detta sammantaget påverkar elevens studieresultat totalt sett är svårt att påvisa, men då körsången genererar sådana egenskaper som genomsyrar en elevs totala karaktär och attityd, är det rimligt att påstå att så kan vara fallet. / Research shows how music influences our total well-being and our potential. There are studies that show a connection between music and achievement and statistically students in music programs show better academic results in all subjects than other students. This study has looked into how high school students perceive choral singing in school, and specifically if they feel that choral singing can affect their total scholastic achievements. The study focuses on obtaining a deeper perspective on how these students view if their own personal development is connected to their choral singing in school. What traits and abilities does choral singing promote? The results have been related to current research about motivation, performance, and success. Does choral singing contribute to the improvement of students’ overall scholastic performance? The results show that choral singing has many effects, whereby some can be viewed as achievement-boosting. Broadly speaking, choral singing is perceived to be meaningful by the test-subjects, which leads to a high degree of responsibility. Choral singing stimulates both mentally and physically, and generates positive emotions which contribute to feelings of satisfaction and well-being. Choral singing fulfills many needs, such as security, community, and appreciation, which are said to be prerequisites for being motivated to achieve. It is difficult to prove if this combination is responsible for affecting the students’ scholastic results, but since choral singing generates abilities that permeate a student’s overall character and attitude, it is viable to draw this conclusion.

L’objectif de cette étude était d’évaluer l’influence des habiletés perceptives sur les capacités de production vocale dans l’amusie congénitale. Treize amusiques et douze contrôles appariés ont réalisé quatre tâches : deux tâches de discrimination perceptive et deux tâches de production vocale. Les stimuli utilisés pour les tâches étaient des enregistrements vocaux provenant des participants, rendant les tâches plus écologiques et enlevant le besoin pour les participants de modifier le timbre des stimuli lorsqu’ils chantent. Les résultats ont démontré que, malgré le fait que les contrôles aient surpassé la performance des amusiques dans toutes les tâches, il y avait beaucoup plus de variabilité dans les performances des amusiques que prévu. La moitié des amusiques avaient des performances égales à celles des contrôles sur les deux tâches perceptives. D’autres amusiques montraient des performances égales ou semblables à celles des contrôles sur au moins une des tâches d’imitation vocale. Ces résultats mènent à croire qu’il serait possible que ces deux types d’habiletés musicales soient dissociables. / Our goal was to examine to what extent vocal and perceptual pitch-matching abilities were related in congenital amusia. To do this, we asked 13 amusics and 12 matched controls to perform four tasks, including two pitch perception tasks and two vocal imitation tasks. We controlled for any timbral translation by recording the participants singing and using it as stimuli across most tasks. Results showed great variability in both perceptual and vocal imitation tasks in amusics, while controls had good performances on all tasks. We illustrated how some amusics could retain good perceptual pitch-matching abilities while being unable to perform well in the vocal tasks, and how some amusics could perform well in the vocal imitation tasks. These results help illustrate the potential for these abilities to be independent. However, further studies are required to fully understand their relation.

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Dėmesys individualiojo vokalinio ugdymo problematikai tampa aktualus, kalbant apie būsimuosius muzikos mokytojus, kurie, siekdami užtikrinti visavertį savo ugdytinių tobulėjimą, turi įgyti tvirtą vokalinių žinių, gebėjimų ir įgūdžių pagrindą, plėtoti ne tik savo dalykines, bet ir bendrąsias kompetencijas, pasiruošti naujų pedagoginių vaidmenų atlikimui. Disertacijos tyrimo tikslas – parengti būsimųjų muzikos mokytojų individualiojo vokalinio ugdymo strategiją. Ginamieji disertacijos teiginiai: 1. Vokalinis ugdymas yra vienas iš pagrindinių muzikinio ugdymo komponentų, todėl būsimiesiems muzikos mokytojams būtini išugdyti vokaliniai gebėjimai ir įgūdžiai. 2. Individualusis vokalinis ugdymas sudaro palankias sąlygas individualizuoti ugdymo turinį ir technologijas, prisitaikyti prie konkretaus būsimojo muzikos mokytojo poreikių ir galimybių. 3. Holistiniu požiūriu ir ugdomų vokalinių gebėjimų bei įgūdžių psichinio ir fizinio aspektų derme pagrįsta individualiojo vokalinio ugdymo strategija yra svarbi, plėtojant muzikos mokytojo vaidmenis ir ugdant kompetencijas. Remiantis mokslinės literatūros, dokumentų analize ir empirinio tyrimo, grįsto kiekybinio ir kokybinio metodų derinimu, rezultatais sukurta būsimųjų muzikos mokytojų individualiojo vokalinio ugdymo strategiją, kuri suprantama kaip organizuotas, tikslingas veiksmų planas, skirtas numatytam ilgalaikiam tikslui pasiekti – optimizuoti būsimųjų muzikos mokytojų rengimą, įvardijant pagrindinius principus, strategijos... [toliau žr. visą tekstą] / Attention granted to problems of individual vocal education becomes urgent having in mind future music teachers who have to acquire vocal knowledge, master fundamentals of vocal abilities and skills, develop their both subject–specific and generic competences, prepare for new teachers’ educational roles to ensure their learners’ overall improvement. The aim of the research – to work out strategy of future music teachers’ individual vocal education. The following theses are to be defended: 1. Vocal education is one of the main components of musical education, therefore it is essential for future music teachers to acquire vocal abilities and skills. 2. Individual vocal education creates favourable conditions for individualizing education content and technologies with regard to the needs and potentialities of a particular future music teacher. 3. Strategy of individual vocal education grounded on a holistic approach and harmony of psychic and physical aspects of vocal abilities and skills, is crucial in increasing music teachers’ roles and competence development. Drawing on the results of the research dissertation, strategy of future music teachers’ individual vocal education was developed. Strategy here is understood as an organized, expedient plan of activities to achieve a long-term effect – to optimize future music teachers’ training, indicating its main principles, strategy objectives and defining strategy components – education content and education technologies.

This work takes as its central "conceit" a specific cultural site, namely a small town choir-- The Emu Park and District Amateur Choral Society Inc., which operates in Central Queensland, circa 1965. A discontinuous narrative of interconnected short stories of one chapter each, highlight significant and often highly traumatic aspects of the interconnected lives of selected choir members. The narrative lampoons the English choral tradition against the setting of a society which does not deal with the political and social negativities of Queensland in the sixties. It is a culture in denial. The comedy deals with the often banal, though always good natured, behaviours of the choir members in dealing with often black-edged lives. An Overture introduces all characters, while Acts I, II & III deal with individual's stories. The Finale deals with the outcome of rehearsals in a culminating performance of the Emu Park and District Amateur Choral Society Incorporated. The short stories, one to a chapter, concern individual choir member's life stories and form discreet, fully finished pieces of work in their own right. Background action throughout the stories involves a series of rehearsals which structurally tie all the narratives to the final chapter. Lyrics of popular songs of the 1900's through to early 1960's are mentioned within the text. For copyright reasons the texts are not reproduced in full. However, these lyrics do comment tangentially on some aspect of the character's story.

Made available in DSpace on 2015-05-14T12:52:28Z (GMT). No. of bitstreams: 1 ARquivoTotalElizete2.pdf: 21662672 bytes, checksum: 81733634d971195212d7dfd57e739a93 (MD5) Previous issue date: 2013-05-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work grew out of an interest in knowing the songs of Alberto Nepomuceno more deeply, encouraged mainly by the lack of disclosure of this repertoire in recitals in the city of Recife - Pernambuco. Dealing with songs in Portuguese, was sought to know how Nepomuceno's defense of the use of the vernacular in classical singing occurred, considering that at his time the Italian and French languages were recognized as suitable for this kind of performance. It was also necessary to know and experience the use of standards table of pronunciation of the Brazilian Portuguese in classical singing from the Brazilian Association of Singing. The research was developed through research literature, analysis of scores, two recitals and survey on the number of recordings of the repertoire. The importance of this work is based also in the relationship between Alberto Nepomuceno's musical training in Europe and the reflection of this experience in his brazilian songs. The choice of songs followed some criteria such as: lack of a full disclosure in recitals in Recife, PE and extension of melodies according to the vocal range of this author. The repertoire features eleven songs: Amo-Íe muito Op. 12 nº 2, Tu és o sol! Op. 14 nº 2, Coração rriste Op. 18 nº1, Soneto Op. 21 nº 3, Turquesa Op. 26 nº 1,Trovas Op. 29 nº 1, Trovas Op. 29 nº 2, Cantigas, Cantilena, Candura e A jangada. The study of the songs developed from the following aspects: the poem, the poet, tonality, melody, functional harmony and piano accompaniment, based on the collections of Songs for voice and piano edited by Dante Pignatari EDUSP (2004) and manuscripts scores obtained at the National Library. The songs chosen were composed between 1894 and 1920. / Este trabalho surgiu do interesse em conhecer mais profundamente as canções de câmara de Alberto Nepomuceno, incentivada, principalmente, pela falta de divulgação desse repertório em recitais de canto na cidade de Recife - Pernambuco. Em se tratando de canções em português, buscou-se conhecer de que forma ocoffeu a defesa de Nepomuceno pelo uso da língua vernácula no canto erudito, tendo em vista que na época do ocorrido os idiomas italiano e francês eram reconhecidos como apropriados para essa performance. Foi necessário também, conhecer e experimentar a utilização da tabela de Normas para a Pronúncia do Português Brasileiro no Canto Erudito da Associação Brasileira de Canto. A pesquisa se desenvolveu através da investigação bibliográfica, análise das partituras, dois recitais e levantamento sobre o número de gravações do repertório. A importância desse trabalho se fundamenta, também, na relação entre a formação musical de Alberto Nepomuceno na Europa e o reflexo dessa vivência em suas canções brasileiras. A escolha das canções seguiu alguns critérios como: a pouca divulgação nos recitais em Recife - PE e a extensão das melodias, de acordo com o tipo vocal desta autora. O repertório possui onze canções: Amo-te muito Op. t 2 no 2, Tu és o sol! Op. 14 no 2, Coração triste Op. 18 nol, Soneto Op. 21 n" 3, Turquesa Op. 26 no 1, Trovas Op. 29 n" I, Trovas Op. 29 n" 2, Cantigas, Cantilena, Candura e A jangada. O estudo das canções se desenvolveu a partir dos seguintes aspectos: o poema, o poeta, a tonalidade, a melodia, a harmonia funcional e o acompanhamento para piano, com base na coletânea Canções para voz e piano de Dante Pignatari editada pela EDUSP (200a) e partituras manuscritas obtidas na Biblioteca Nacional. As canções escolhidas foram compostas no período entre 1894 e 1920.

Syftet med studien är att undersöka sångpedagogers syn på och arbete med musikteori i sångundervisning. Studiens forskningsfrågor handlar om hur sångpedagoger konstruerar sin syn på lärandeobjektet musikteori inom ramen för sångundervisning och hur sångpedagoger konstruerar sitt sätt att arbeta med musikteori inom ramen för sångundervisning. För att undersöka detta har semistrukturerade intervjuer genomförts med fyra olika sångpedagoger på gymnasieskolans estetiska program. Studiens teoretiska ramverk består av diskursteori med viss inspiration från diskurspsykologi. Intervjuerna spelades in med ljudinspelning för att sedan transkriberas och analyseras med hjälp av analysverktyg från det valda teoretiska ramverket. I resultatet beskrivs de sex diskurser som identifierades och som parvis strider mot varandra: musikteori som nödvändigt verktyg för att arbeta med sång kontra musikteori som icke nödvändigt verktyg för att arbeta med sång, musikteori som sångpedagogens ansvar kontra musikteori som andra lärares ansvar samt musikteori som icke beroende av ett ytterligare instrument kontra musikteori som beroende av ett ytterligare instrument. Resultatet visar också att olika diskurser kan existera parallellt med varandra i ett och samma samtal med en pedagog. Vidare visar resultatet hur respondenterna, utifrån dessa diskurser, arbetar med musikteori under sina lektioner och att de ger musikteoretiska hemläxor till sina elever. I diskussionen diskuteras de diskursiva kamperna som presenterats i resultatet i relation till det teoretiska perspektivet samt tidigare litteratur och forskning. / The purpose of this study is to examine voice teachers’ views on and work with music theory in singing lessons. The study’s research questions concern how voice teachers construct their views on the subject music theory within the framework of the singing lesson and how voice teachers construct their work with music theory within the framework of the singing lesson. To examine this semi structured interviews were held with four singing teachers working in high school. The theoretical framework of the study is discourse theory with some inspiration from discourse psychology. The interviews were recorded via audio recording and were then transcribed and analyzed. The analysis was conducted with tools from the chosen theoretical framework. In the result the six discourses found are presented, also presented is the fact that they conflict with each other in pairs of two: music theory as a necessary tool for singing versus music theory as an unnecessary tool for singing, music theory as the voice teacher’s responsibility versus music theory as other teacher’s responsibility and music theory as not dependent on another instrument versus music theory as dependent on another instrument. The result also shows that different discourses can exist collaterally within the same conversation with a singing teacher. Furthermore, the result shows how the respondents, on the basis of the discourses, work with music theory during their lessons and how they give home assignments in music theory. In the discussion the discoursive battles presented in the result are discussed in relation to the theoretical framework as well as previous literature and research.