View of Literature………………………………………..30
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Dissertation Formatted
UNIVERSITY OF CALIFORNIA Santa Barbara Beyond Transition: Life Course Challenges of Trans* People A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Sociology by Andrew Rene Seeber Committee in charge: Professor Verta Taylor, Committee Co-Chair Professor France Winddance Twine, Committee Co-Chair Professor Alicia Cast Professor Leila Rupp December 2015 The dissertation of Andrew Rene Seeber is approved. ____________________________________________ Alicia Cast ____________________________________________ Leila Rupp ____________________________________________ Verta Taylor, Committee Co-Chair ____________________________________________ France Winddance Twine, Committee Co-Chair December 2015 Beyond Transition: Life Course Challenges of Trans* People Copyright © 2015 by Andrew Rene Seeber iii ACKNOWLEDGEMENTS I would like to thank the many people who opened their homes and life stories to me, making this project possible. Your time, good humor, and generosity are much appreciated. I would also like to thank my co-chairs, Verta Taylor and France Winddance Twine, for their hours of work, attention, and support in guiding me through the research and writing process. Thank you to my committee members, Alicia Cast and Leila Rupp, for their theoretical and editorial insights. Thank you to many colleagues and friends, especially Noa Klein and Elizabeth Rahilly, for places to sleep, challenging conversations, and continuous cheerleading. I would like to thank my family for always being there and supporting me from afar, even when I confused them with pronouns, needed a place to visit for a break, or asked them to travel completely across the country for my wedding. Finally, I would like to thank my wonderful wife, Haley Cutler, for her inspiration, support, patience for graduate student life, and most importantly, her love. -
“My Voice Speaks for Itself”: the Experiences of Three Transgender Students in Secondary School Choral Programs
“MY VOICE SPEAKS FOR ITSELF”: THE EXPERIENCES OF THREE TRANSGENDER STUDENTS IN SECONDARY SCHOOL CHORAL PROGRAMS By Joshua Palkki A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Music Education—Doctor of Philosophy 2016 ABSTRACT “MY VOICE SPEAKS FOR ITSELF”: THE EXPERIENCES OF THREE TRANSGENDER STUDENTS IN SECONDARY SCHOOL CHORAL PROGRAMS By Joshua Palkki Is choral music education in America at a “trans(gender) tipping point”? With the purpose of furthering and enhancing the sociocultural dialogue surrounding LGBTQA issues in music education and to improve vocal/choral instruction for trans students, this multiple narrative case study explored the musical lives and lived experiences of trans students in high school choral music programs. The two grand tour problems of this study were: • To describe how transgender students enrolled in secondary school choral music programs navigate their gender identity in the choral context. • To describe if/how transgender students in secondary school choral programs were supported by groups including their choral teachers, choral peers, and school administrators. The emergent research design employed narrative inquiry and ethnographic techniques in order to honor and highlight voices of the three participants: Sara, Jon, and Skyler (pseudonyms). The stories of these three students revealed the importance of context and geography in shaping the experiences of trans youth at school. Additionally, the connection or lack thereof between voice and gender identity was different for each of the participants. The policies of the students’ school districts, high schools (administrators), choral programs, and outside music organizations (e.g., state music education organizations) shaped and influenced how Sara, Jon, and Skyler navigated their trans identity within the high school choral context. -
Kate Galloway 274 Court St
Kate Galloway 274 Court St. Apt. 104, Middletown, CT 06457 Mobile: (959) 888-2803; E-Mail: [email protected] Wesleyan University, Department of Music Website: https://wesleyan.academia.edu/KateGalloway EMPLOYMENT Visiting Assistant Professor 2016-2019 Wesleyan University, Department of Music, Middletown, CT Postdoctoral Research Fellow and Adjunct Assistant Professor 2012-2016 Memorial University of Newfoundland, St. John’s, NL School of Music and the Research Centre for the Study of Music, Media and Place (MMaP) Funded by the Social Sciences and Humanities Research Council of Canada (SSHRC) Postdoctoral Fellowship and Insight Development Grant, 2012 SSHRC Postdoctoral Prize awarded to the most outstanding SSHRC Postdoctoral award recipient Sessional Assistant Professor University of Western Ontario, Faculty of Music, London, ON 2012 Sessional Assistant Professor University of Guelph, School of Fine Art & Music, Guelph, ON 2010-2012 Sessional Assistant Professor Wilfrid Laurier University, Faculty of Music, Waterloo, ON 2011 Graduate Teaching Assistant and Instructor of Record University of Toronto, Faculty of Music and University of Toronto ScarborouGh Campus, Department of Visual and PerforminG Arts & Department of the Humanities, Toronto, ON 2003-2010 EDUCATION Doctor of Philosophy, Musicology/Ethnomusicology University of Toronto, Faculty of Music, Toronto, ON 2010 “Sounding Nature, Sounding Place”: Alternative Performance Spaces, Participatory Experience, and Ritual Performance in R. Murray Schafer’s Patria Cycle” Master of -
Cubed Circle Newsletter 201 – We're Not Dead
Cubed Circle Newsletter 201 – We're Not Dead Given the absence of a newsletter last week following our 200th issue the week prior new readers could be forgiven for thinking that we were on an unannounced extended hiatus. However, as long- time readers will know this newsletter, if anything, is vulnerable to technical difficulties, even ones as trivial as the loss of a laptop charger on holiday. However, after a week off not only are we back with a double issue featuring our last piece of G1 coverage, two weeks of NXT, Mid-South from 1982, and two weeks of RAW featuring Sting, but we also have the debut of a brand new column – the Pro-Wres Digest! The goal of the Digest is to encapsulate the week that was in pro-wrestling in 3-4 pages, providing a TL;DR of sorts for those unable to devote enough time to following every news story that breaks in a given week. – Ryan Clingman, Cubed Circle Newsletter Editor The Pro-Wres Digest for September 6th - 12th. Ben Carass. On Friday September 4th, John Cena was thought to have suffered an injury during a house show match with Kevin Owens in Hampton, VA. Amazingly, it wasn’t the springboard stunner that went wrong but another move John Cena should not be attempting, the code/infrared. Cena went for the move and Owens kind of just fell down on his chest; imagine an axe-guillotine driver but with Owens losing his balance too. When the report first broke, people were freaking out about Cena possibly suffering a neck injury, since they did stop the match for the referee to check on Cena and they went right to the finish after he was checked out. -
Max Neuhaus, R. Murray Schafer, and the Challenges of Noise
University of Kentucky UKnowledge Theses and Dissertations--Music Music 2018 MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE Megan Elizabeth Murph University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/etd.2018.233 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Murph, Megan Elizabeth, "MAX NEUHAUS, R. MURRAY SCHAFER, AND THE CHALLENGES OF NOISE" (2018). Theses and Dissertations--Music. 118. https://uknowledge.uky.edu/music_etds/118 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies. -
Uptownlive.Song List Copy.Pages
Uptown Live Sample - Song List Top 40/ Pop 24k Gold - Bruno Mars Adventure of A Lifetime - Coldplay Aint My Fault - Zara Larsson All of Me (John Legend) Another You - Armin Van Buren Bad Romance -Lady Gaga Better Together -Jack Johnson Blame - Calvin Harris Blurred Lines -Robin Thicke Body Moves - DNCE Boom Boom Pow - Black Eyed Peas Cake By The Ocean - DNCE California Girls - Katy Perry Call Me Maybe - Carly Rae Jepsen Can’t Feel My Face - The Weeknd Can’t Stop The Feeling - Justin Timberlake Cheap Thrills - Sia Cheerleader - OMI Clarity - Zedd feat. Foxes Closer - Chainsmokers Closer – Ne-Yo Cold Water - Major Lazer feat. Beiber Crazy - Cee Lo Crazy In Love - Beyoncé Despacito - Luis Fonsi, Daddy Yankee and Beiber DJ Got Us Falling In Love Again - Usher Don’t Know Why - Norah Jones Don’t Let Me Down - Chainsmokers Don’t Wanna Know - Maroon 5 Don’t You Worry Child - Sweedish House Mafia Dynamite - Taio Cruz Edge of Glory - Lady Gaga ET - Katy Perry Everything - Michael Bublé Feel So Close - Calvin Harris Firework - Katy Perry Forget You - Cee Lo FUN- Pitbull/Chris Brown Get Lucky - Daft Punk Girlfriend – Justin Bieber Grow Old With You - Adam Sandler Happy – Pharrel Hey Soul Sister – Train Hideaway - Kiesza Home - Michael Bublé Hot In Here- Nelly Hot n Cold - Katy Perry How Deep Is Your Love - Calvin Harris I Feel It Coming - The Weeknd I Gotta Feelin’ - Black Eyed Peas I Kissed A Girl - Katy Perry I Knew You Were Trouble - Taylor Swift I Want You To Know - Zedd feat. Selena Gomez I’ll Be - Edwin McCain I’m Yours - Jason Mraz In The Name of Love - Martin Garrix Into You - Ariana Grande It Aint Me - Kygo and Selena Gomez Jealous - Nick Jonas Just Dance - Lady Gaga Kids - OneRepublic Last Friday Night - Katy Perry Lean On - Major Lazer feat. -
Popular Music Pedagogy: Peer Learning in Practice
Popular music pedagogy: peer learning in practice Author Lebler, Don Published 2008 Journal Title Music Education Research DOI https://doi.org/10.1080/14613800802079056 Copyright Statement © 2008 Taylor & Francis. This is the author-manuscript version of the paper. Reproduced in accordance with the copyright policy of the publisher.Please refer to the journal link for access to the definitive, published version. Downloaded from http://hdl.handle.net/10072/26123 Link to published version http://www.tandf.co.uk/journals/carfax/14613808.html Griffith Research Online https://research-repository.griffith.edu.au Popular music pedagogy: peer-learning in practice DON LEBLER Lecturer Popular and Contemporary Music, Queensland Conservatorium Griffith University [email protected] Abstract The inclusion of popular music as a content area in music education is not uncommon. The musicological study of popular music is well established in higher education, and even the practice of popular music is becoming more common in both secondary education and the post-compulsory sector. However, when this occurs, it is likely to be taught in more or less the same way as other more established content areas like western classical music or jazz, with teachers being in control of the process and the curriculum, the feedback and the assessment. But popular music is usually learned in the broader community as a self-directed activity, sometimes including interactions with peers and group activities, but rarely under the direction of an expert mentor/teacher. One Australian conservatorium has adopted the pedagogy of popular music through the creation of a scaffolded self-directed learning environment within its bachelor of popular music program. -
Downbeat.Com April 2011 U.K. £3.50
£3.50 £3.50 U.K. PRIL 2011 DOWNBEAT.COM A D OW N B E AT MARSALIS FAMILY // WOMEN IN JAZZ // KURT ELLING // BENNY GREEN // BRASS SCHOOL APRIL 2011 APRIL 2011 VOLume 78 – NumbeR 4 President Kevin Maher Publisher Frank Alkyer Editor Ed Enright Associate Editor Aaron Cohen Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Associate Maureen Flaherty ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sue Mahal 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough, Howard Mandel Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Robert Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, -
Cubed Circle Newsletter 241 – Consistency Is Hard
Cubed Circle Newsletter 241 – Consistency is Hard As many of probably noticed, we have been posting late and sporadically for the last month. This was, obviously, not our intention, but with the second semester eating into my free time, staying up to date is a tall order. Even without the newsletter itself seeing weekly publication the site has still remained up to date on a weekly basis, thanks primarily to co-author Ben Carass, as well as guest writers Paul Cooke and Leslie Lee III. But, the newsletter has survived for well over 241 weeks, and will hopefully thrive in the years to come. I have attempted to make provisions for publishing related tasks which should minimize the risk of major delays (obviously there will be some regular delays, as this late issue can attest), but we have some fail safes in place in order to keep this to a minimum. With all of this said, we have a great issue for everyone this week with Paul Cooke discussing the Pro-Wrestling Only Greatest Wrestler Ever project and his personal experience with the poll, Ben covers the news including tons of results from Japan and the Lesnar USADA violation, the Mixed Bag returns with a look at comedy wrestling, Ricochet/Ospreay, and a potential WWE match of the year -- plus Ben also looks at last Sunday's Battleground show and the first RAW of the brand split (a very good show). Also, for those unaware, we now have an official Twitter account @CubedCircleWres allowing the banger to unprecedented highs at @BenCarass and @RyanClingman. -
Information to Users
INFORMATION TO U SER S This manuscript has been reproduced from the microfilm master UMl films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer The quality of this reproduction is dependent upon the quality of the copy submitted.Broken or indistinct phnt, colored or poor quality illustrations and photographs, print bleedthrough. substandard margins, and improper alignment can adversely affect reproduction In the unlikely event that the author did not send UMl a complete manuscript and there are missing pages, these will be noted. Also, if unauthonzed copyright material had to be removed, a note will indicate the deletion Oversize materials (e g . maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. ProQuest Information and Learning 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 800-521-0600 UMl® UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MICHAEL HEAD’S LIGHT OPERA, KEY MONEY A MUSICAL DRAMATURGY A Document SUBMITTED TO THE GRADUATE FACULTY In partial fulfillment of the requirements for the degree of DOCTOR OF MUSICAL ARTS By MARILYN S. GOVICH Norman. Oklahoma 2002 UMl Number: 3070639 Copyright 2002 by Govlch, Marilyn S. All rights reserved. UMl UMl Microform 3070639 Copyright 2003 by ProQuest Information and Learning Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17. United States Code. ProQuest Information and Learning Company 300 North Zeeb Road P.O. -
Concert Promotion in a College Community: a Guide for the Hopeful Concert Promoter
University of Mississippi eGrove Honors College (Sally McDonnell Barksdale Honors Theses Honors College) 2008 Concert Promotion in a College Community: A Guide for the Hopeful Concert Promoter Lori Ann Simpson Follow this and additional works at: https://egrove.olemiss.edu/hon_thesis Recommended Citation Simpson, Lori Ann, "Concert Promotion in a College Community: A Guide for the Hopeful Concert Promoter" (2008). Honors Theses. 2121. https://egrove.olemiss.edu/hon_thesis/2121 This Undergraduate Thesis is brought to you for free and open access by the Honors College (Sally McDonnell Barksdale Honors College) at eGrove. It has been accepted for inclusion in Honors Theses by an authorized administrator of eGrove. For more information, please contact [email protected]. CONCERT PROMOTION IN A COLLEGE COMMUNITY: A GUIDE FOR THE HOPEFUL CONCERT PROMOTER by Lori Ann Simpson A thesis submitted to the faculty of The University of Mississippi in partial fulfillment of the requirements of the Sally McDonnell Barksdale Honors College. Oxford May 2008 Approved by 1 ^Advisor: Dr. Samir HusniI Reader: Dr. Kathleen Wickham ) Reader: Dr. Linda Chitwood I ©2008 Lori Arm Simpson ALL RIGHTS RESERVED 11 ACKNOWLEDGEMENTS There are many people that I am indebted to for their helpfulness during the research and writing of this thesis. First and foremost, I would like to thank my mother, Sandra Simpson, who was always there to offer suggestions or advice for marketing ideas. I also owe thanks to Layne Feldman, who offered his expertise on live music marketing before I even knew where 1 was going with this project. Dr. Samir Husni, my thesis advisor, saw my passion for this project and agreed to support me in my research. -
Effective Practising: a Research Perspective
a u s t r a l i a n s os c i e t y f o r mm u s i c e d u c a t i oe n i n c o r p o r a t e d Effective practising: A research perspective Katie Zhukov The University of Queensland Abstract This paper reviews latest research findings on practising in an attempt to encourage studio music teachers to trial new approaches. Literature shows that expert performers begin learning an instrument at an early age, and sustain and increase their deliberate practice over at least 10 years. A certain amount of practice hours is needed to achieve professional level. Both formal and informal practice are important in the development of skills. Structured practice based on clear teacher instructions gives better results than unstructured practice. Technical work in practice should be directed to solving repertoire problems to initiate transfer of learning. Effective practising strategies include chunking, modelling, mental rehearsal, and hand reversal. Developing metacognitive skills in students will lead to greater self- regulation and effectiveness in practice. Selection of interesting repertoire is vital for maintaining students’ motivation. Parental support plays an important role in the early stages of learning, while in the teen years participation in extra- curricular musical activities has significant educational and motivational value. Research findings reviewed in this paper have implications for the teaching profession and deserve consideration and trial. Keywords: Instrumental practice, expert performance, parental influences, structured practice, practising strategies, self- regulation, motivation. Australian Journal of Music Education 2009:1, 3-12 Introduction four stages of practising were identified by Chaffin, Imreh, and Crawford (2002): the ‘big The question of practising has been a perennial picture’ overview of the work; technical practice topic of discussion between instrumental music that includes overcoming problems, achieving teachers and their students.