Mémoire (M.Sc.A.)-- Université du Québec à Chicoutimi, 1992. / Bibliogr.: f. 98-105. Document électronique également accessible en format PDF. CaQCU

Thesis (Ph. D.)--University of Missouri-Columbia, 1997. / Typescript. Vita. Includes bibliographical references (leaves 112-121). Also available on the Internet.

The purpose of this thesis was to show that cooperative learning strategies are suitable teaching techniques for the instruction of undergraduate music theory. Literature in music theory pedagogy has concentrated primarily on content-based teaching issues and offers little information on the range of teaching techniques available for promoting student learning. Many instructors may be relying on traditional teaching methods with which they are familiar-lectures, lecture-demonstrations and teacher-led discussions-to instruct tonal theory classes and may not be aware of cooperative learning or its potential usefulness as another instructional strategy. The body of this thesis is divided into three main sections. The opening section demonstrates how traditional teaching methods alone fail to meet many learning needs of students and points to cooperative learning strategies as one alternative method that addresses these needs. In the next section, cooperative learning is further defined in order to differentiate it from traditional group work. The third and largest section contains ten sample lesson plans based on topics central to first- and second-year tonal harmony courses. Each lesson includes at least one cooperative learning technique and a discussion of why the particular technique was applied to the topic. Instructors of tonal harmony who are looking for additional teaching strategies that actively involve the learners should consider using cooperative learning. The sample lesson plans offered in this thesis illustrate how these techniques may be used either briefly in conjunction with more traditional methods or on their own in more extensive activities. Variety within cooperative learning strategies has also been demonstrated by providing techniques ranging from simple, user-friendly ideas for the inexperienced, to more complex and challenging activities requiring higher levels of experience and collaborative skills. A selected bibliography is included to assist readers in becoming familiar with some of the resources available to those who use cooperative groups for instruction. / Arts, Faculty of / Music, School of / Graduate

A sudden rise in right wing parties has occurred throughout Europe, and this is no exception in Sweden. The Sweden Democrats have gone from a small, extremist party with founders who have roots in nazism and fascism, into the third largest party in Sweden. This study have analyzed articles from 2005, 2006, 2013, 2014, 2018 and 2021 in two of the biggest newspapers in Sweden, Aftonbladet and Expressen in order to discover patterns in media material that showcases how traditional and established media outlets such as the ones mentioned have changed, or not changed, their coverage surrounding The Sweden Democrats. The aim of the study is to analyze the apparent normalization of The Sweden Democrats through frames such as labeling, tonality and topics present in news articles from Aftonbladet and Expressen throughout their rise to power.The research questions were: Quantitative research question: - Has The Sweden Democrats been normalized in Aftonbladet and Expressen from 2005 to 2021 based on labeling, topic and tonality? If so, how? Qualitative research question:- What is the discourse(s) and frames surrounding The Sweden Democrats in Aftonbladet and Expressen in the consecutive years? In order to answer the quantitative research questions, and to fulfill the aim of the study, a content analysis was first done in a large number of articles throughout the years. In order to answer the qualitative research questions, a framing analysis with purposive sampling followed the content analysis, in order to take a closer look into the frames and discourses present in the material throughout the years. The findings of the study showed that there has been a shift in tonality, topics and labeling throughout the years. The findings showcased that the party in the beginning were labeled as extremists, while gradually becoming labeled as neutral and eventually established in the later years. This showcased a normalization of the party in the media throughout their rise in power.

Previous studies of musical creativity lacked strong foundations in music theory and music analysis. The goal of the current project was to merge the study of music perception and cognition with the study of expertise-based musical creativity. Three hypotheses about the nature of creativity were tested. According to the productive-thinking hypothesis, creativity represents a complete break from past knowledge. According to the reproductive-thinking hypothesis, creators develop a core collection of kernel ideas early in their careers and continually recombine those ideas in novel ways. According to what can be called the field hypothesis, creativity involves more than just the individual creator; creativity represents an interaction between the individual creator, the domain in which the creator works, and the field, or collection of institutions that evaluate creative products. In order to evaluate each hypothesis, the musical components of a sample of songs by two eminent 20th century American songwriters, Cole Porter and Irving Berlin, were analyzed. Five separate analyses were constructed to examine changes in the psychologically salient musical components of Berlin's and Porter's songs over time. In addition, comparisons between hit songs and non-hit songs were also drawn to investigate whether the composers learned from their cumulative songwriting experiences. Several developmental trends were found in the careers of both composers; however, there were few differences between hit songs and non-hit songs on all measures. The careers of both composers contain evidence of productive and reproductive creativity. Implications of the results and suggestions for future research are discussed. / Psychology

In Appalachian Spring, Aaron Copland creates a unique tonal environment. Although often considered a tonal work, it contains many non-functional progressions and techniques that belie common-practice norms. The entire first movement, and sections of other movements contain no harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion, in part because tonic and dominant chords sound together as a single sonority. In other movements, harmonic motion is increased by shifts to third-related keys, and non-functional progressions. Also, the variations on the melody "Simple Gifts" never employ common-practice techniques. Through the free use of materials, Copland creates an individualistic example of tonality in twentieth-century music.

Thesis (Ph. D.)--Universität Oldenburg, (2006?). / Includes bibliographical references (p. 311-315).

Thesis--Indiana University, 2006. / Computer printout. "While the present study will focus specifically on the evolution of tonality in Ginastera's compositional style, I begin by surveying the small body of general scholarship pertinent to Ginastera, starting with his own published comments. This critical survey serves two purposes: it provides a general overview of the scholarship to date regarding Ginastera; and it demonstrates the shortcomings of that scholarship in relation to the study of tonality's evolution in Ginastera's music--hence the rationale for the present study."--Leaves 1-2. Includes bibliographical references (leaves 269-284), abstract, and vita.

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