An Introduction to Music Studies Pdf, Epub, Ebook
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2010 AMTA Conference Promises to Bring You Many Opportunities to Network, Learn, Think, Play, and Re-Energize
Celebrating years Celebrating years ofof musicmusic therapytherapy the past... t of k ou oc R re utu e F th to in with ll nd o Music a R Therapy official conference program RENAISSANCE CLEVELAND HOTEL Program Sponsored by: CLEVELAND, OHIO welcome ...from the Conference Chair elcome and thank you for joining us in Cleveland to celebrate sixty years of music Wtherapy. And there is much to celebrate! Review the past with the historical posters, informative presentations and the inaugural Bitcon Lecture combining history, music and audience involvement. Enjoy the present by taking advantage of networking, making music with friends, new and old, and exploring some of the many exciting opportunities available just a short distance from the hotel. The conference offers an extensive array of opportunities for learning with institutes, continuing education, and concurrent sessions. Take advantage of the exceptional opportunities to prepare yourself for the future as you attend innovative sessions, and talk with colleagues at the clinical practice forum or the poster research session. After being energized and inspired the challenge is to leave Cleveland with both plans and dreams for what we can accomplish individually and together for music therapy as Amy Furman, MM, MT-BC; we roll into the next sixty years. AMTA Vice President and Conference Chair ...from the AMTA President n behalf of the AMTA Board of Directors, as well as local friends, family and colleagues, Oit is my distinct privilege and pleasure to welcome you to Cleveland to “rock out of the past and roll into the future with music therapy”! In my opinion, there is no better time or place to celebrate 60 years of the music therapy profession. -
Recasting Gender
RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN A Thesis Presented to The Graduate Faculty of The University of Akron In Partial Fulfillment of the Requirements for the Degree Master of Music Shelley Smith August, 2009 RECASTING GENDER: 19TH CENTURY GENDER CONSTRUCTIONS IN THE LIVES AND WORKS OF ROBERT AND CLARA SCHUMANN Shelley Smith Thesis Approved: Accepted: _________________________________ _________________________________ Advisor Dean of the College Dr. Brooks Toliver Dr. James Lynn _________________________________ _________________________________ Faculty Reader Dean of the Graduate School Mr. George Pope Dr. George R. Newkome _________________________________ _________________________________ School Director Date Dr. William Guegold ii TABLE OF CONTENTS Page CHAPTER I. THE SHAPING OF A FEMINIST VERNACULAR AND ITS APPLICATION TO 19TH-CENTURY MUSIC ..............................................1 Introduction ..............................................................................................................1 The Evolution of Feminism .....................................................................................3 19th-Century Gender Ideologies and Their Encoding in Music ...............................................................................................................8 Soundings of Sex ...................................................................................................19 II. ROBERT & CLARA SCHUMANN: EMBRACING AND DEFYING TRADITION -
Statistical Techniques in Music Psychology: an Update
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Goldsmiths Research Online Statistical techniques in music psychology: An update Daniel M¨ullensiefen 1 Introduction Music psychology as a discipline has its origins at the end of the 19th century and ever since then, empirical methods have been a core part in this field of research. While its experimental and analytical methods have mainly been related to methodology employed in general psychology, several statistical techniques have emerged over the course of the past century being specific for empirical research in music psychology. These core methods have been described in a few didactic and summarising publications at several stages of the discipline’s history (see e.g. Wundt, 1882; B¨ottcher & Kerner, 1978; Windsor, 2001, or Beran, 2004 for a very technical overview), and these publications have been valuable resources to students and researchers alike. In contrast to these texts with a rather didactical focus, the objective of this chapter is to provide an overview of a range of novel statistical techniques that have been employed in recent years in music psychology research.1 This overview will give enough insight into each technique as such. The interested reader will then have to turn to the original publications, to obtain a more in-depth knowledge of the details related to maths and the field of application. Empirical research into auditory perception and the psychology of music might have its beginnings in the opening of the psychological laboratory by Wilhelm Wundt in Leipzig in 1879 where experiments on human perception were conducted, and standards for empirical research and analysis were developed. -
The Impact of Music on Studying Ability in College Students
College of Saint Benedict and Saint John's University DigitalCommons@CSB/SJU Celebrating Scholarship and Creativity Day Undergraduate Research 4-26-2018 The Impact of Music on Studying Ability in College Students Nathaniel T. Lutmer College of Saint Benedict/Saint John's University, [email protected] Follow this and additional works at: https://digitalcommons.csbsju.edu/ur_cscday Part of the Psychology Commons Recommended Citation Lutmer, Nathaniel T., "The Impact of Music on Studying Ability in College Students" (2018). Celebrating Scholarship and Creativity Day. 39. https://digitalcommons.csbsju.edu/ur_cscday/39 This Presentation is brought to you for free and open access by DigitalCommons@CSB/SJU. It has been accepted for inclusion in Celebrating Scholarship and Creativity Day by an authorized administrator of DigitalCommons@CSB/SJU. For more information, please contact [email protected]. 1 RUNNING HEAD: MUSIC AND STUDYING ABILITY The Impact of Music on Studying Ability in College Students Nathaniel T. Lutmer College of St. Benedict and Saint John’s University Author Note Nathaniel T. Lutmer, Department of Psychology, College of Saint Benedict and Saint John’s University Corresponding concerns regarding this article should be addressed to Nathaniel Lutmer, Department of Psychology, College of St. Benedict and Saint John’s University, Collegeville, MN 56321 Contact: [email protected] 2 RUNNING HEAD: MUSIC AND STUDYING ABILITY Abstract This study investigates the relationship between listening to music and studying ability in college students. This study was conducted by utilizing a convenience sampling technique to have participants partake in the study. Each participant was randomly assigned to either a control or one of two experimental groups based on block-random assignment. -
Music Analysis: an Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif
DOCUMENT RESUME ED 067 359 SO 004 665 AUTHOR Fink, Michael TITLE Music Analysis: An Annotated Bibliography. INSTITUTION Southwest Regional Library for Educational Research and Development, Los Alamitos, Calif. REPORT NO TR-43 BUREAU NO BR- 6-2865 PUB DATE 1 Aug 72 NOTE 25p. EDRSPRICE MF-$0.65 HC-$3.29 DESCRIPTORS *Annotated Bibliographies; *Applied Music; Elementary Education; Higher Education; Music; Musical Composition; Music Appreciation; *Music Education; Music Techniques; *Music Theory; Secondary Education ABSTRACT One hundred and forty citations comprise this annotated bibliography of books, articles, and selected dissertations that encompass trends in music theory and k-16 music education since the late 19th century. Special emphasis is upon writings since the 19501s. During earlier development, music analysts concentrated upon the elements of music (i.e., melody, harmony, rhythm, and form). Since 1950, varying viewpoints on the teaching of music analysis have emerged, producing a surge of various analytical trends and philosophies derived from other than musical contexts. Information theory, phenomenology, and the application of computers have made the strongest impact upon music theory in recent years. Classified headings in the listing cover:1) general discussions of music analysis, 2)the analysis of specific elements of music (melody, harmony, etc.),3)principal trends and approaches to the subject, and 4)samples of analytic models. The headings reflect the evolution of trends within the subject. Author entries are alphabetically arranged under headings. Whief descriptive annotations are provided. (Author/SJM) ibie ks!) 1 I5A) SOUTHWEST REGIONAL LABORATORY FOR EDUCATIONAL RESEARCH & DEVELOPMENT Music Analysis: An AnnotatedBibliography Tit 431 August 1972 I U.S. -
Lesbian and Gay Music
Revista Eletrônica de Musicologia Volume VII – Dezembro de 2002 Lesbian and Gay Music by Philip Brett and Elizabeth Wood the unexpurgated full-length original of the New Grove II article, edited by Carlos Palombini A record, in both historical documentation and biographical reclamation, of the struggles and sensi- bilities of homosexual people of the West that came out in their music, and of the [undoubted but unacknowledged] contribution of homosexual men and women to the music profession. In broader terms, a special perspective from which Western music of all kinds can be heard and critiqued. I. INTRODUCTION TO THE ORIGINAL VERSION 1 II. (HOMO)SEXUALIT Y AND MUSICALIT Y 2 III. MUSIC AND THE LESBIAN AND GAY MOVEMENT 7 IV. MUSICAL THEATRE, JAZZ AND POPULAR MUSIC 10 V. MUSIC AND THE AIDS/HIV CRISIS 13 VI. DEVELOPMENTS IN THE 1990S 14 VII. DIVAS AND DISCOS 16 VIII. ANTHROPOLOGY AND HISTORY 19 IX. ACKNOWLEDGEMENTS 24 X. EDITOR’S NOTES 24 XI. DISCOGRAPHY 25 XII. BIBLIOGRAPHY 25 I. INTRODUCTION TO THE ORIGINAL VERSION 1 What Grove printed under ‘Gay and Lesbian Music’ was not entirely what we intended, from the title on. Since we were allotted only two 2500 words and wrote almost five times as much, we inevitably expected cuts. These came not as we feared in the more theoretical sections, but in certain other tar- geted areas: names, popular music, and the role of women. Though some living musicians were allowed in, all those thought to be uncomfortable about their sexual orientation’s being known were excised, beginning with Boulez. -
Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected]
Molloy College DigitalCommons@Molloy Faculty Works: Music Therapy Music Therapy 2016 Multicultural Considerations in Music Therapy Research Seung-A Kim Ph.D., L.C.A.T., MT-BC Molloy College, [email protected] Cochavit Elefant Follow this and additional works at: https://digitalcommons.molloy.edu/mustherapy_fac Part of the Music Therapy Commons DigitalCommons@Molloy Feedback Recommended Citation Kim, Seung-A Ph.D., L.C.A.T., MT-BC and Elefant, Cochavit, "Multicultural Considerations in Music Therapy Research" (2016). Faculty Works: Music Therapy. 8. https://digitalcommons.molloy.edu/mustherapy_fac/8 This Book Chapter is brought to you for free and open access by the Music Therapy at DigitalCommons@Molloy. It has been accepted for inclusion in Faculty Works: Music Therapy by an authorized administrator of DigitalCommons@Molloy. For more information, please contact [email protected],[email protected]. Chapter 8 MULTICULTURAL CONSIDERATIONS IN MUSIC THERAPY RESEARCH Seung-A Kim • Cochavit Elefant Our society has become more diverse in the past decade, as evidenced by the influx of immigrants, multiracial and minority groups, and the increasing age gap between generations (Population Reference Bureau, 2015). Consequently, culture has been regarded as a significant construct among researchers. By proposing Culture-Centered Music Therapy, Stige (2002) encourages “all music therapists [to be] more culture-centered in their work and thinking, not by labeling their work as such but integrating cultural perspectives in their thinking” (p. 5). As our own worldviews influence all aspects of music therapy (Dileo, 2000; Wheeler & Baker, 2010), cultural factors provide a significant foundation to all music therapy research. With this perspective, music therapy researchers are essentially multicultural researchers. -
Orientalism and New Musicology
UDK 78:81’373.46 Izvorni znanstveni rad Rukopis primljen 13. VII. 2018. Prihvaćen za tisak 12. X. 2018. Sanela Nikolić Faculty of Music University of Arts in Belgrade [email protected] ORIENTALISM AND NEW MUSICOLOGY The aim of this paper is to outline the history of the concept of Orientalism in the field of New musicology and to point out that musicological discussions of Orientalism significantly changed disciplinary profile of musicology in the direction of interdisciplinary or contextual musicology. The area of Postcolonial studies has been recognized by New musicology as a possible starting point for theorizing the new issues related to the questions of music, race, ethnic and national otherness, and European colonialism. In 1991, with the publication of Ralph P. Locke’s text “Constructing the Oriental ‘Other’: Saint-Saëns’s Samson et Dalila” in Cambridge Opera Journal, the musicological research of the European professional music tradition from the aspects of postcolonial theories has been institutionalized and the concept of Orientalism has been introduced into the field of research objects of musicology. What is present as the common aspects of all musicological studies that address the issue of musical representations of the Orient are interdisciplinarity and contextuality. Contrary to the reduction of the complex Western European music practices to the idea of an autonomous work of music devoted to an aesthetic enjoyment, postcolonial musicology proposed poststructuralist analytical models of text and discourse and affirm the interest in the context of work of music. In that manner, musicology has been updated as a discipline that autocritically approaches Western European professional music practice by seeing it/ self as only one of the possible historical formations of culture/knowledge in which there are visible clusters, conflicts, and aspirations to present (Western) European capitalist patriarchal politics as a universal economic, political and cultural power. -
FIVE CHALLENGES and SOLUTIONS in ONLINE MUSIC TEACHER EDUCATION Page 1 of 10
FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION Page 1 of 10 Volume 5, No. 1 September 2007 FIVE CHALLENGES AND SOLUTIONS IN ONLINE MUSIC TEACHER EDUCATION David G. Hebert Boston University [email protected] “Nearly 600 graduate students?”1 As remarkable as it may sound, that is the projected student population for the online graduate programs in music education at Boston University School of Music by the end of 2007. With the rapid proliferation of online courses among mainstream universities in recent years, it is likely that more online music education programs will continue to emerge in the near future, which begs the question of what effects this new development will have on the profession. Can online education truly be of the same quality as a traditional face-to-face program? How is it possible to effectively manage such large programs, particularly at the doctoral level? For some experienced music educators, it may be quite difficult to set aside firmly entrenched reservations and objectively consider the new possibilities for teaching and research afforded by recent technology. Yet the future is already here, and nearly 600 music educators have seized the opportunity. Through online programs, the internet has become the latest tool for offering professional development to practicing educators who otherwise would not have access, particularly those currently engaged in full-time employment or residing in rural areas. Recognizing the new opportunities afforded by recent technological developments, Director of the Boston University School of Music, Professor Andre De Quadros and colleagues launched the nation’s first online doctoral program in music education in 2005. -
The Elements of Music
KSKS35 The elements of music Anna Gower was by Anna Gower a secondary music teacher and head of music for 18 years. She now works as a consultant for Trinity College London INTRODUCTION and Musical Futures International, as well The elements of music. DR P SMITH or MAD T SHIRT; posters on the walls of your classroom; a handy checklist as with various MEH for writing a model answer to a GCSE question; or a guide to development in an A level composition. and organisations in the UK and overseas. The elements of music have long been an important component of KS3 music, whether they’re taught as a stand- alone unit or topic, or threaded through performing, composing or listening activities in a topic-based curriculum. Often described as the ‘building blocks’ of music, the However, the elements of music are really just a set of labels and concepts under which sits a wealth of musical elements of music understanding, and a heap of vocabulary and musical language that can help to hone student responses to may have slightly music that they hear, play, sing or compose from the very start of their music education. different labels that vary from school to school. But they It’s that further layer beneath the label and concept that’s much harder to measure, and which weaves through each come with all good music learning and teaching. It’s about crafting an understanding of what makes music a medium a label or name (pitch, rhythm, through which to be expressive, to make sense of sound, and to arrange it into meaningful musical experiences etc), a concept that allow students to demonstrate their learning in ways other than a listening test or performance assessment. -
8Th Annual Gamut Conference Program
The Graduate Association of Musicologists und Theorists presents the 8th annual GAMuT Graduate Student Conference Saturday, February 6, 2021, 9:00am–5:45pm CST Held via Zoom, University of North Texas Keynote Speaker: Olivia Bloechl (University of Pittsburgh) “Doing Music History Where We Are” Generously Supported by The Division of Music History, Theory, and Ethnomusicology Program 9:00 Welcome and Opening remarks Peter Kohanski, GAMuT President/Conference Co-Chair Benjamin Brand, PhD, Professor of Music History and Chair of the Division of Music History, Theory, and Ethnomusicology 9:15 Race and Culture in the Contemporary Music Scene Session Chair: Rachel Schuck “Sounds of the 'Hyperghetto': Sounded Counternarratives in Newark, New Jersey Club Music Production and Performance” Jasmine A. Henry (Rutgers University) “‘I Opened the Lock in My Mind’: Centering the Development of Aeham Ahmad’s Oriental Jazz Style from Syria to Germany” Katelin Webster (Ohio State University) “Keeping the Tradition Alive: The Virtual Irish Session in the time of COVID-19” Andrew Bobker (Michigan State University) 10:45 Break 11:00 Reconsidering 20th-Century Styles and Aesthetics Session Chair: Rachel Gain “Diatonic Chromaticism?: Juxtaposition and Superimposition as Process in Penderecki's Song of the Cherubim” Jesse Kiser (University of Buffalo) “Adjusting the Sound, Closing the Mind: Foucault's Episteme and the Cultural Isolation of Contemporary Music” Paul David Flood (University of California, Irvine) 12:00 Lunch, on your own 1:00 Keynote Address Session -
Chapter 2. Corpus-Based Musicology. 11
UCC Library and UCC researchers have made this item openly available. Please let us know how this has helped you. Thanks! Title A programmer's environment for music analysis Author(s) Ó Maidín, Donncha Seán Publication date 1995 Original citation Ó Maidín, D. S. 1995. A programmer's environment for music analysis. PhD Thesis, University College Cork. Type of publication Doctoral thesis Link to publisher's http://library.ucc.ie/record=b1230585~S0 version http://dx.doi.org/10.13140/2.1.3387.2969 Access to the full text of the published version may require a subscription. Rights © 1995, Donncha S. Ó Maidín http://creativecommons.org/licenses/by-nc-nd/3.0/ Embargo information No embargo required Item downloaded http://hdl.handle.net/10468/1629 from Downloaded on 2021-10-05T12:42:50Z A Programmer’s Environment for Music Analysis by Donncha Seán Ó Maidín, M.Sc., B.Mus. Submitted in May 1995 to The National University of Ireland for the degree of Doctor of Philosophy and revised in September 1995. This thesis was registered in The Department of Music, Faculty of Arts, University College, Cork, and was completed under the internal supervision of Professor David Cox and under the external examination of Professor Anthony Pople of the University of Lancaster. Copyright Donncha Ó Maidín 1995. scoreView. Table of Contents. ACKNOWLEDGEMENTS. IX CHAPTER 1. INTRODUCTION. 1 1.1 Overview. 1 1.2 Contribution of this Study to the Field of Corpus-Based Musicology. 3 1.3 Goals. 4 1.3.1 Informational Completeness. 4 1.3.2 Informational Objectivity. 5 1.3.3 Multi-Level.