DOCSLIB.ORG

Listening to Audiences: a Critical Analysis of Participation in Classical Music Education and Outreach Projects Anahi Ravagnani

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Listening to Audiences: a Critical Analysis of Participation in Classical Music Education and Outreach Projects Anahi Ravagnani Listening to audiences: A critical analysis of participation in classical music education and outreach projects Anahi Ravagnani Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Performance and Cultural Industries November 2020 - ii - The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. The right of Anahi Ravagnani to be identified as author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. © 2020 The University of Leeds and Anahi Ravagnani - iii - Acknowledgements This PhD study would not have been possible without funding from the School of Performance and Cultural Industries, University of Leeds, which I gratefully acknowledge. My deepest gratitude goes to my inspiring supervisors, Dr Adam Strickson and Professor Ben Walmsley, who went above and beyond in their roles. Thank you for generously sharing your knowledge, for challenging me intellectually and for guiding me throughout the PhD journey with patience, serenity and kindness. Thank you to Fiona Harvey, Education and Youth Ensembles Consultant for the Association of British Orchestras for the constant encouragement, and also for introducing me to the Education Directors of the partner organisations in this study. To Jacqui Cameron and Steve Pickett, Education Directors for Opera North and The Hallé Orchestra – thanks for understanding the importance of this study and for allowing me to conduct the research within your organisations. For all support and valuable conversations during the fieldwork, thanks to Jo Brockbank, Project Manager for The Hallé Inspire Programme, and to Steven Phillips, Project Manager of the Whistle Stop Opera, who also kindly arranged access to rehearsals and performances. Thanks also to Lisa Bates, Headteacher of Gorse Hill Primary School, for her partnership. My very especial appreciation goes to all pupils and the Whistle Stop Opera project audience members who participated in this study. Thanks for your openness, for offering your time and for filling this study with vivid emotions, personal stories and memories. I am also grateful to the two classroom teachers at Gorse Hill Primary School and all talented musicians and singers of Whistle Stop Opera and The Hallé Inspire Programme for their contribution to this research. To Dr Leila Jancovich, thanks for raising important questions and for bringing fresh insights to this study in the transfer assessment. To Dr Kate Taylor, Academic Lead for the Intersessional PGR Programme in the Language Centre, my gratitude for her friendship and encouragement throughout this study. - iv - I also would like to thank Linda Watson, Senior Graduate School and Research Support Officer, and Rebecca Turpin, Customer Assistant of the Brotherton Library, for guaranteeing that I had access to all resources I needed to conduct this study. My gratitude also to the support provided by Student Disability Services over the past two years. For exchanging ideas, for reading parts of this thesis and for sharing their wisdom, thanks to my fellow PhD friends, Elizabeth Ridley and Luciana Rosa, and to Dr Andreas Rauh, Dr Said Tuma and Dr Jorge Scheffer. To James Taylor and the meditation group, thanks for reminding me of the importance of breathing and cultivating my balance to carry out this PhD, particularly in challenging times. Many friends were by my side throughout this journey, and I am grateful to each one of them for bringing joy and love to my life. A very special thank you to my sister at heart Daniela Alvim Fonseca. To Viviana Morilla, Tiago de Paula Squires, Ana Signorini and Yaxin Luo, thank you for their companionship. Finally, heartfelt gratitude to my incredible, loving and supportive parents, Edmar and Vera, and to my extraordinary siblings Janaina and Enrico, without whom I would not have had the courage to embark on this journey in the first place. - v - Abstract The last four decades have been characterised by a growing discussion in the orchestral sector regarding modes for overcoming barriers to classical music attendance. Such discussions reflect funding bodies’ growing requirements for initiatives capable of broadening and diversifying audiences and being meaningful for participants, whilst maintaining artistic excellence. This research investigates the extent to which education and outreach projects offered by two classical music organisations allowed or inhibited participation in, and engagement with, classical music and opera. Whether through a single attendance at a performance of the Whistle Stop Opera project, or by taking part in the Hallé Inspire programme, a long-term creative music-making programme, the research aimed to investigate the value attributed to classical music by participants and its place in their lives. Drawing on an ethnographic approach, underpinned by observations and conversations with participants, this study examines individuals’ experiences of interpreting, expressing and attributing meaning to their encounters with classical music and opera. By placing participants’ voices at the heart of the inquiry, it reveals the variety of participants’ expectations, responses, emotions and relationships to the artforms, making an original contribution to the fields of audience research, music education, arts management, and cultural policy. The research also provides an in-depth analysis of encouragements and barriers to participation that may inform organisational policies and practices. The findings of this study highlight the role of spaces and the relationship between participants and performers in influencing audiences’ enjoyment and in fostering life-long engagement with classical music, both for new audiences and for regular attendees. This study reveals the lack of a concise alignment between arts organisations’ missions with the goals and outcomes envisioned by projects dedicated to broadening and diversifying audiences, highlighting the need for clearly focused aims and objectives in education and outreach projects. - vi - Table of Contents Acknowledgements ....................................................................................................... iii Abstract ............................................................................................................................... v Table of Contents ............................................................................................................. vi List of Tables ..................................................................................................................... ix List of Figures .................................................................................................................... x Chapter 1 Introduction ................................................................................................... 1 1.1 Research Context ......................................................................................................... 3 1.2 Research rationale ...................................................................................................... 8 1.3 Defining key terms and concepts ....................................................................... 10 1.4 The structure of this thesis ................................................................................... 13 Chapter 2 ‘Not for us’ .................................................................................................... 17 2.1 From Antiquity to the Seventeenth Century: A dive into the classical music tradition ....................................................................................................... 18 2.2 Eighteenth and Nineteenth centuries: an attempt to shift classical music function and audiences’ participation ............................................. 22 2.3 The new millennium ................................................................................................ 26 2.3.1 The place of music in British schools ................................................. 32 Chapter 3 Towards an understanding of participation in arts ..................... 39 3.1 The common assumptions, many interpretations and lack of consensus in arts participation ........................................................................ 41 3.1.1 Great arts for all .......................................................................................... 47 3.1.2 Arts as a means of social, personal and community change ...... 49 3.1.3 Cultural democracy and democratisation of culture .................... 53 3.2 British orchestras in context ................................................................................ 55 3.2.1 Mission, vision and the place of educational and outreach projects within classical music organisations’ structures .......... 62 Chapter 4 Methodology ............................................................................................... 65 4.1 Methodological introduction................................................................................ 69 4.2 Case studies ................................................................................................................ 71 4.2.1 The Hallé Orchestra ..................................................................................
Load more

Recommended publications
  • Gossett Dissertation
    The Pennsylvania State University The Graduate School School of Music VALUES TO VIRTUES: AN EXAMINATION OF BAND DIRECTOR PRACTICE A Dissertation in Music Education by Jason B. Gossett © 2015 Jason B. Gossett Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy August, 2015 ii The dissertation of Jason B. Gossett was reviewed and approved* by the following: Linda Thornton Associate Professor, Music Education Dissertation Advisor Chair of Committee Richard Bundy Professor, Music Education Davin Carr-Chellman Assistant Professor, Adult Education Joanne Rutkowski Professor, Music Education Graduate Program Chair *Signatures are on file in the Graduate School iii ABSTRACT The purpose of this dissertation was to investigate the pedagogic values of band directors. Further, how these values are operationalized in the classroom and contribute to a director’s conception of the good life was examined. This dissertation contains the findings from three separate investigations. The purpose of the first investigation was to elicit and examine the pedagogic values of three band directors. I sought to understand their pedagogic values through observation, interviews, and examination of repertoire lists. The participants’ pedagogic values emerged as values of ends and of students. Directors identified undergraduate music education experiences, reflection, and teaching experiences as sources of their values. The purpose of my second investigation was to ascertain the values and sources of pedagogic values held by band directors and how contextual factors influence stasis or change in values. I used a descriptive survey design for this inquiry. Participants were band directors from six states representing the six National Association for Music Education regional divisions.
    [Show full text]
  • Anexo:Premios Y Nominaciones De Madonna 1 Anexo:Premios Y Nominaciones De Madonna
    Anexo:Premios y nominaciones de Madonna 1 Anexo:Premios y nominaciones de Madonna Premios y nominaciones de Madonna interpretando «Ray of Light» durante la gira Sticky & Sweet en 2008. La canción ganó un MTV Video Music Awards por Video del año y un Grammy a mejor grabación dance. Premios y nominaciones Premio Ganados Nominaciones Total Premios 215 Nominaciones 407 Pendientes Las referencias y notas al pie Madonna es una cantante, compositora y actriz. Nació en Bay City, Michigan, el 16 de agosto de 1958, y creció en Rochester Hills, Michigan, se mudó a Nueva York en 1977 para lanzar su carrera en la danza moderna.[1] Después haber sido miembro de los grupos musicales pop Breakfast Club y Emmy, lanzó su auto-titulado álbum debut, Madonna en 1983 por Sire Records.[2] Recibió la nominación a Mejor artista nuevo en el MTV Video Music Awards (VMA) de 1984 por la canción «Borderline». Madonna fue seguido por una serie de éxitosos sencillos, de sus álbumes de estudio Like a Virgin de 1984 y True Blue en 1986, que le dieron reconocimiento mundial.[3] Madonna, se convirtió en un icono pop, empujando los límites de contenido lírico de la música popular y las imágenes de sus videos musicales, que se convirtió en un fijo en MTV.[4] En 1985, recibió una serie de nominaciones VMA por sus videos musicales y dos nominaciones en a la mejor interpretación vocal pop femenina de los premios Grammy. La revista Billboard la clasificó en lista Top Pop Artist para 1985, así como en el Top Pop Singles Artist en los próximos dos años.
    [Show full text]
  • The Relationship Between Music Participation and Mathematics
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Liberty University Digital Commons THE RELATIONSHIP BETWEEN MUSIC PARTICIPATION AND MATHEMATICS ACHIEVEMENT IN MIDDLE SCHOOL STUDENTS by Joshua Robert Boyd Liberty University A Dissertation Presented in Partial Fulfillment Of the Requirements for the Degree Doctor of Education Liberty University March, 2013 THE RELATIONSHIP BETWEEN MUSIC PARTICIPATION AND MATHEMATICS ACHIEVEMENT IN MIDDLE SCHOOL STUDENTS by Joshua Robert Boyd A Dissertation Presented in Partial Fulfillment Of the Requirements for the Degree Doctor of Education Liberty University, Lynchburg, VA March, 2013 APPROVED BY: Dr. Leonard Parker, Ed.D., Committee Chair Dr. Joan Fitzpatrick, Ph.D., Committee Member Dr. Laurie Barron, Ed.D., Committee Member Scott B. Watson, Ph.D., Associate Dean, Advanced Programs ii THE RELATIONSHIP BETWEEN MUSIC PARTICIPATION AND MATHEMATICS ACHIEVEMENT IN MIDDLE SCHOOL STUDENTS ABSTRACT Joshua Boyd. (under the direction of Dr. Leonard W. Parker) School of Education, Liberty University, March, 2013. A comparative analysis was used to study the results from a descriptive survey of selected middle school students in Grades 6, 7, and 8. Student responses to the survey tool was used to compare multiple variables of music participation and duration of various musical activities, such as singing and performing on instruments, to the mathematics results from Georgia Criterion-Referenced Competency Test (Georgia Department of Education, 2011. The results were analyzed with the use of the Pearson r correlation coefficient. The intensity of relationships was assessed with analysis of variance (ANOVA). A final t-test of means was conducted to compare the mathematics achievement of students, who reported that they participated in musical activities vs.
    [Show full text]
  • Peter Kasule
    Artistic Director & Master of Ceremonies Peter Kasule The Company Brian Aine Yudaya Nabbanja Solace Ataho Noeline Nabesezi Jimmy Ayo Faith Ruth Nabukenya Rajab Basoga Joyce Nagujja Joseph Chan Mary Nakabuubi Faith Kansiime Percy Nakaggwa Daniel Kasata Donatina Nakimuli Anthony Kiranda Miriam Namala Sharon Kyomugisha Maria Namanda George Lukwago Brian Odong Moses Mudiope Mukusin Wasswa Lighting Design by Dan Ozminkowski Produced by Empower African Children Alexis Hefley, Founder & President www.EmpowerAfricanChildren.org The 2012 Spirit of Uganda Tour is presented by arrangement with Lisa Booth Management, Inc. Running Time One hour and 45 minutes inclusive of one 15-minute intermission. Program and cast subject to change. The taking of photographs or other recording in any media is prohibited. Spirit of Uganda 2012 Program page 1 of 13 Director’s Note Dance and music in Africa are the Breath of Life. The deeper we breathe, the longer we live, and the more diverse and culturally rich we become. The beauty of African dance and music lies in the authenticity of our embedded traditions that are carried from one generation to another. Like our elders and ancestors before us, our creative legacy will be added to this long history when we take our last breaths. African music is nearly always coupled with some other art form, such as poetry, ritual or dance. All of these art forms are rooted in rhythm. Through interaction and creativity our culture is constantly moving, growing and changing. And together, they reveal the African life and soul. More than 50 distinct ethnic groups contribute to Uganda’s rich culture and while modern borders are fixed, these cultures spill out across traditional territories into neighboring countries.
    [Show full text]
  • Rhythmic Priming and Audio–Motor Training Affect Speech Perception
    Acta Psychologica 155 (2015) 43–50 Contents lists available at ScienceDirect Acta Psychologica journal homepage: www.elsevier.com/ locate/actpsy Bridging music and speech rhythm: Rhythmic priming and audio–motor training affect speech perception Nia Cason a,b,⁎, Corine Astésano c,d,1, Daniele Schön a,b,2 a Aix-Marseille Université, Institut de Neurosciences des Systèmes, Marseille, France b INSERM, U1106, Marseille, France c UMR 7309, Laboratoire Parole et Langage, CNRS & Aix-Marseille University, 5 avenue Pasteur, 13006 Aix-en-Provence, France d EA 4156, U.R.I. Octogone-Lordat, 5 allées Antonio Machado, 31058 Toulouse Cedex 09, France article info abstract Article history: Following findings that musical rhythmic priming enhances subsequent speech perception, we investigated Received 25 June 2014 whether rhythmic priming for spoken sentences can enhance phonological processing – the building blocks of Received in revised form 1 December 2014 speech – and whether audio–motor training enhances this effect. Participants heard a metrical prime followed Accepted 3 December 2014 by a sentence (with a matching/mismatching prosodic structure), for which they performed a phoneme detec- Available online xxxx tion task. Behavioural (RT) data was collected from two groups: one who received audio–motor training, and one who did not. We hypothesised that 1) phonological processing would be enhanced in matching conditions, Keywords: – Speech and 2) audio motor training with the musical rhythms would enhance this effect. Indeed, providing a matching Music rhythmic prime context resulted in faster phoneme detection, thus revealing a cross-domain effect of musical Prosody rhythm on phonological processing. In addition, our results indicate that rhythmic audio–motor training Metre enhances this priming effect.
    [Show full text]
  • LISTENING to MUSIC in the FIRST THREE GRADES of PRIMARY SCHOOL Dr
    Metodički obzori 9 (2014)1, No. 19 Listening to music in the first three grades... Received: 22.6.2012. Reviewed paper UDK: 78.073-057.874”465.06/.09” LISTENING TO MUSIC IN THE FIRST THREE GRADES OF PRIMARY SCHOOL dr. sc. Jasna Šulentić Begić The Teacher Faculty in Osijek [email protected] mag. Katarina Tomljanović Primary School Hugo Badalić [email protected] ABSTRACT Since school year 2006-2007 music lessons in primary schools have been carried out by the open model, which considers the music field of listening to music as a default activity. In fact, only active listening to quality music can empower pupils to critical and aesthetic evaluation of music and that is how they become competent users of musical culture. This paper reviews the thinking of different authors about listening to music as a teaching area and also research that was conducted in three different elementary schools in the city of Slavonski Brod during March 2012. In every elementary school music class- es were observed in the first, second and third grade. Systematic observation led to the conclusion that some teachers still do not access to activity of listening to music in the artistic and aesthetic way, and that the music lessons continue to contain many tasks that are non-musical so pupils are encouraged to imagine non-musical content while listen- ing to music, although the music itself is non-display art. It is important that teachers are aware of this fact so pupils can develop musical taste and a critical attitude towards music from an early age, which is the ultimate aim of teaching music.
    [Show full text]
  • People's Church – People's Music
    Sakari Löytty People’s Church – People’s Music Contextualization of liturgical music in an African church. People’s Church – People’s Music Contextualization of liturgical music in an African church. Cover photo by Sakari Löytty Layout by Lauri Dammert Printed by Hansa Print 2012 Photos by author except of Ongumbiro 2005 by Ilona Sokeila and Ongumbiro in Finland by Päivi Löytty. Doctoral Research Project Development Study Program. Sibelius Academy, DocMus Copyright: Sakari Löytty, Sibelius-Akatemia 2012 EST 25 (ISSN 1237-4229) Sakari Löytty: People’s Church — People’s Music 5 Acknowledgments People’s Church – People’s Music, the title of this book, gives an indication how research was conducted among people and with them. I feel indebted to many. I feel like having walked a long way, meeting many who walked alongside with me and many who, while providing me valuable information, encouraged me with their knowledge to walk ahead. First of all I want to thank my two employers for giving me a chance to conduct field re- search in Namibia: The Finnish Evangelical Lutheran Mission and The Evangelical Lutheran Church in Namibia. I am grateful to all my colleagues, friends and church members in Na- mibia for providing me an inspirational environment for this research and offering multiple opportunities to collect data by partaking in church life. Particularly I feel indebted to the Reverends Eliakim Shaanika, Alpo Enkono, Linus Dama Shimakeleni, Teofilus Nelumbu, Ms Namene Kuugonglewa, Dr David Iileka, Dr Martin Ngodji and Dr Paulus Ndamanomhata for interesting discussions that, if not directly contributing to my research, broadened my un- derstanding on church life and Christianity in Namibia.
    [Show full text]
  • Software Agents in Music and Sound Art Research/Creative Work: Current State and a Possible Direction
    Software Agents in Music and Sound Art Research/Creative Work: current state and a possible direction IAN WHALLEY The University of Waikato, Private Bag 3105, Hamilton, New Zealand E-mail: [email protected] Composers, musicians and computer scientists have begun to answer the critique, a hybrid model is proposed based use software-based agents to create music and sound art in on non-linear generative improvisation coupled with both linear and non-linear (non-predetermined form and/or a conversational model of human–computer inter- content) idioms, with some robust approaches now drawing on action that takes into account music/sound as an various disciplines. This paper surveys recent work: agent affective language. technology is first introduced, a theoretical framework for its The intention here is then to broaden debate and use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of stimulate further discussion – and also to signal areas neglect in recent research, a possible direction for further work of contention that might be useful to address in is then briefly explored. Finally, a vision for a new hybrid model future work. that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed. 1.1. What are software agents? An agent is generally understood as somebody or something that acts on behalf of another in a process. 1. INTRODUCTION A software agent, put simply, is a computer program The grounding assumption in this paper is that it is that works on tasks specified by a user. As with their worthwhile to attempt to draw on and integrate physical counterparts, software agents can exhibit technical and human reception perspectives to ad- varying degrees of persistence, independence, commu- vance new music research and/or creation, towards nication and collaboration with other software agents implementing robust solutions that can usefully or people.
    [Show full text]
  • Music in Motion
    Music in Motion 2009-03-23 15-13-40 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7205719821352|(S. 1 ) T00_01 schmutztitel - 1074.p 205719821360 The cooperation partners of the ExTra! project are: 2009-03-23 15-13-40 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7205719821352|(S. 2 ) T00_02 seite 2 - 1074.p 205719821384 Music in Motion Diversity and Dialogue in Europe. Study in the frame of the »ExTra! Exchange Traditions« project Edited by Bernd Clausen, Ursula Hemetek and Eva SÆther for the European Music Council 2009-03-23 15-13-40 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7205719821352|(S. 3 ) T00_03 titel - 1074.p 205719821440 With the support of the Culture 2000 programme of the European Union. This publication reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. The European Music Council is supported by Bibliographic information published by the Deutsche Nationalbibliothek The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbiblio- grafie; detailed bibliographic data are available in the Internet at http://dnb.d-nb.de © 2009 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Cover layout: Kordula Röckenhaus, Bielefeld Cover illustration: Laura Leante, 2006 Layout & Typeset: Markus Köhler Proofread by Wiebke Pilz, Katja Strube, Anne Thomas, Juliette Powel and Benjamin Perriello Translations by Selma Adlim, Patricia Adkins Chiti, Mike Delaney, Kathrin Matzen, Anne Thomas, Juliette Powel, Mojca Vodusek Printed by Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-8376-1074-1 2009-03-23 15-13-41 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7205719821352|(S.
    [Show full text]
  • Wilson Ku 0099M 15489 DAT
    THE REASONS CITED BY LATINO STUDENTS FOR THEIR DISCONTINUATION IN BAND AFTER THE FIRST YEAR By Copyright 2017 Jacob B. Wilson Submitted to the graduate degree program in Music Education and Music Therapy and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Music Education. ________________________________ Chairperson Dr. Jacob M. Dakon ________________________________ Dr. Martin J. Bergee ________________________________ Dr. Christopher M. Johnson Date Defended: June 26, 2017 The Thesis Committee for Jacob B. Wilson certifies that this is the approved version of the following thesis: THE REASONS CITED BY LATINO STUDENTS FOR THEIR DISCONTINUATION IN BAND AFTER THE FIRST YEAR ________________________________ Chairperson Dr. Jacob M. Dakon Date approved: June 30, 2017 ii Abstract The purpose of this study was to determine the reasons cited by Latino students for their discontinuation in band after the first year of instruction. Participants (N = 10) were middle school students enrolled in the Olathe Public School District in Olathe, Kansas. Using a phenomenological approach, data were collected through two focus group sessions led by the researcher. Focus groups were audio recorded, transcribed, and analyzed using a two-cycle coding process. Findings indicate that students attribute five primary themes to their discontinuation in band after the first year: Personal Cost, Social Cost, Monetary Cost, Denial of Choice, and Teacher Effectiveness. The first three themes, Personal, Social, and Monetary Cost, were examined through the lens of Eccles’s Expectancy-Value Theory Framework (1983). The fourth theme, Denial of Choice, is discussed as it relates to the idea of Autonomy versus Control in education.
    [Show full text]
  • Computer Music Composition Using Crowdsourcing and Genetic Algorithms Jessica Faith Keup Nova Southeastern University, [email protected]
    Nova Southeastern University NSUWorks CEC Theses and Dissertations College of Engineering and Computing 2011 Computer Music Composition using Crowdsourcing and Genetic Algorithms Jessica Faith Keup Nova Southeastern University, [email protected] This document is a product of extensive research conducted at the Nova Southeastern University College of Engineering and Computing. For more information on research and degree programs at the NSU College of Engineering and Computing, please click here. Follow this and additional works at: https://nsuworks.nova.edu/gscis_etd Part of the Computer Sciences Commons Share Feedback About This Item NSUWorks Citation Jessica Faith Keup. 2011. Computer Music Composition using Crowdsourcing and Genetic Algorithms. Doctoral dissertation. Nova Southeastern University. Retrieved from NSUWorks, Graduate School of Computer and Information Sciences. (197) https://nsuworks.nova.edu/gscis_etd/197. This Dissertation is brought to you by the College of Engineering and Computing at NSUWorks. It has been accepted for inclusion in CEC Theses and Dissertations by an authorized administrator of NSUWorks. For more information, please contact [email protected]. Computer Music Composition using Crowdsourcing and Genetic Algorithms by Jessica F. Keup A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Computer Information Systems Graduate School of Computer and Information Sciences Nova Southeastern University 2011 We hereby certify that this dissertation, submitted by Jessica F. Keup, conforms to acceptable standards and is fully adequate in scope and quality to fulfill the dissertation requirements for the degree of Doctor of Philosophy. ___________________________________________ __________________ Maxine Cohen, Ph.D. Date Chairperson of Dissertation Committee ___________________________________________ __________________ Sumitra Mukherjee, Ph.D.
    [Show full text]
  • The Glorification of Patriarchy in Paul Matavire's Music Lyrics
    Muziki Journal of Music Research in Africa ISSN: 1812-5980 (Print) 1753-593X (Online) Journal homepage: http://www.tandfonline.com/loi/rmuz20 The glorification of patriarchy in Paul Matavire’s music lyrics Alfred Henry Makura To cite this article: Alfred Henry Makura (2016) The glorification of patriarchy in Paul Matavire’s music lyrics, Muziki, 13:2, 3-19, DOI: 10.1080/18125980.2016.1249160 To link to this article: https://doi.org/10.1080/18125980.2016.1249160 Published online: 15 Feb 2017. Submit your article to this journal Article views: 95 View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rmuz20 THE GLORIFICATION OF PATRIARCHY IN PAUL MATAVIRE’S MUSIC LYRICS Alfred Henry Makura School of Postgraduate Studies: Education Faculty of Humanities Central University of Technology [email protected] ABSTRACT The late blind Zimbabwean musician, Paul Matavire, mesmerised his audience with a music genre whose lyrics addressed and continue to address contemporary social issues. His music occupies a prominent place in Zimbabwe’s music history and continues to portray the normative values of an Afro-traditional music genre. Three of his late-1980s hits, Dhiyabhorosi Nyoka (Diabolical snake), Taurayi zvenyu (Just speak please!) and Tanga Wandida (Love me first), collectively glorify patriarchy while portraying women as subservient to the masculine gender. In Dhiyabhorosi Nyoka, Matavire controversially uses biblical inter-textual allusions, humour, and sarcasm to demonstrate that Eve’s original sin was the genesis of the challenges besetting contemporary society (and especially men). He deploys a gendered perspective and demeaning language in other songs considered in this article.
    [Show full text]