285 research outputs found

    音楽演奏家を対象にした行動変容型健康増進プログラムの開発および効果検証

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    早大学位記番号:新9191博士(人間科学)早稲田大

    The incorporation of polyphony into Russian sacred music

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    It is a matter of record that while music in the West steadily incorporated polyphony from the ninth century onwards, sacred music in Russia remained largely monophonic until around mid–17th century, when Western–style polyphony (partesny) suddenly appeared and was incorporated. However, the extant literature does not provide any fully satisfactory explanation for the success of this sudden incursion of polyphony, after almost seven centuries of concerted monophony. Accordingly, in this thesis, I examined the period from 1650–1750 in detail, to clarify the factors either promoting, or inhibiting, the abrupt appearance of polyphony. I identified several powerful pre–existing inhibitors, which I conclude had collectively barred polyphony up to mid–17th century. These included religious opposition, geographical isolation, a lack of training facilities and of singers capable of part singing, and musical roadblocks in the traditional Russia monophonic canon. I proposed that the appearance of partesny was directly and temporally related to the softening and eventual disappearance of these inhibitors. In addition, numerous promoters of polyphony long operative in the West, that had previously been largely absent in Russia, emerged gradually as inhibitors waned. I conclude that the array of inhibitors identified played a primary role in successfully holding polyphony at bay until mid–17th century, with an additional lack of promoters playing a secondary role. I further suggest that while the secular music that developed subsequently in the 18th and subsequent centuries could have incorporated polyphony independently of sacred music at several different historical time points, ingress of polyphony into Russian liturgical music may only have been practically possible in the period from 1650–1750. Failing that, it is plausible that Russia’s sacred music could have remained largely monophonic to the present day, as is the case for Greek sacred music

    The Role of Musical Participation and Improvisation in Social Change

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    Many disciplines of musicology are dedicated to unravelling the connections between music and society. However, we lack a thorough understanding of music’s role in actively changing society. This thesis contributes to remedying that with a focus on musical participation and improvisation. It specifically aims to (1) understand how music contributes to social change in general; (2) discover what kinds of social changes tend to be effectively animated by musical participation and improvisation; and (3) explain why such participatory and improvisatory musics are effective. This occurs across the theoretical, empirical, and practical domains. The first half of the thesis synthesises existing literature and original empirical findings to produce a framework explaining what social change is, how musical participation and improvisation can contribute to it, and through which mechanisms this occurs. It proposes four themes that participation and improvisation afford, namely uniting heterogeneity, direct experience, enhanced agency, and novelty and adaptation. I then use this framework to analyse the cacerolazo protests during the 2001-2002 Argentine financial crisis to understand this participatory and improvisatory music’s capacity for large-scale change. Finally, these findings are applied practically in a highly participatory and improvisatory musical created in collaboration with local First Nations musicians entitled Togetherness Through Music. The intention of this event was to positively transform the meta-conflict between First Nations and settler Australians, and Chapter Five's evaluation of this event furthers our understanding of how participation and improvisation might effectively do this. Together, this work will enhance our understanding of musical participation and improvisation’s role in social change at various levels of society. It will also demonstrate the best practices for changemakers that intend to use them to better the world

    PLAYING-RELATED MUSCULOSKELETAL DISORDERS AMONG MUSIC STUDENTS IN EUROPE

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    Background and aims: The achievement and improvement of musical competences and technical abilities to reach the highest levels of performance may expose music students to a wide range of playing-related musculoskeletal disorders (PRMDs). The main aim of the present thesis was to longitudinally identify the factors associated with increased risk of PRMD onset among music students enrolled in different pan-European music institutions. Further goals were to determine the prevalence and incidence of PRMDs amongst music students during their training, as well as to describe and characterise the study population. Methods: 850 students from 56 European conservatories and music universities completed a web-based questionnaire on lifestyle and physical activity participation levels, musical practice habits, behaviours toward prevention, health history and PRMDs, as well as psychological distress, perfectionism and fatigue. The onset of PRMDs was assessed prospectively at 6 and 12 months. Results: At baseline, 560 participants (65.0%) self-reported a positive history of MSK complaints in the previous 12 months, 408 (48.0%) of whom self-reported PRMDs. Self-reported PRMDs were significantly associated with coming from West Europe (RRR=4.524; RRR>1), being a first- or a second-year Masters student (RRR=2.747; RRR>1), having more years of experience (RRR=1.040; RRR>1) and higher rates of perceived exertion after 45 minutes of practice without breaks (RRR=1.044; RRR>1). The incidences of PRMD onset at 6 and 12 months were 28.8% and 49.0%, respectively. Longitudinally, changes in physical activity level (both increase and decrease; 6-month AOR=2.343, 12-month-AOR=2.346; AOR>1), increased levels of fatigue (6-month AOR=1.084, 12-month-AOR=1.081; AOR>1) and increased level of socially-prescribed perfectionism (6-month AOR=1.102; AOR>1) were significantly associated with PRMD onset. The presence of MSK complaints at baseline (6-month AOR=0.145, 12-month-AOR=0.441; AOR<1), as well as changes to BMI and to levels of psychological distress (12-month AOR=0.663 and 0.914, respectively; AOR<1) retarded the onset of PRMDs. Conclusions: Cross-sectional and longitudinal findings showing high prevalence and incidence of PRMDs amongst music students, have been critically appraised as potential correlates, determinants and factors in the development of PRMDs. The findings offer contextualisation for revisiting contemporary evidence-based preventive strategies and optimisation of tailor-made interventions aimed at minimising the impact of PRMDs

    Piano Instruction: Reframing the Master-Apprentice Model Through the Integration of Dialogic Processes

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    Private piano instruction is a niche field within the broader spectrum of pedagogy with idiosyncrasies that separate it from the traditional classroom. The learning in a private lesson encompasses cognitive, affective, and motor skills, often all at the same time, in a relatively intimate setting. Historically, this teaching and learning environment has followed the master-apprentice model of instruction. However, with newer research in learning sciences supporting social constructivist frameworks for student learning, a blended pedagogical approach is suggested. Dialogic pedagogy and cognitive apprenticeship are used in tandem with traditional precision training methodologies to foster student learning outcomes of metacognition, agency, and self-efficacy in addition to mastery and artistry on the instrument. This study seeks to understand the historical contexts embedded in keyboard pedagogy and analyze the relationship between these contexts and the pedagogical artifacts that were produced. To this end, a textual analysis of historical primary sources will be conducted and analyzed through the lenses of a predetermined set of pedagogical frameworks. Secondarily, several studies will be conducted with students of varying ages, experience levels, and proficiencies from my own piano studio. The same set of pedagogical frameworks will be employed in the case studies to weave together historical artifacts with current pedagogical and research practices

    Defying Convention: Devising new approaches to heritage values in Valletta, Malta.

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    This thesis is concerned with heritage values and significance in the context of the World Heritage listed city of Valletta, the capital of the Maltese Islands, and the author’s home. Though the city’s fortunes have ebbed and flowed over the years, it has recently experienced a period of accelerated regeneration. Now a popular destination for cultural tourists, Valletta is a city in transition, where renewal has led to the conservation and restoration of its urban fabric yet change wrought by these processes has had a demonstrable, detrimental effect on its lesser recognized heritage. An intentional focus on these ‘unofficial’ heritage values is the principal subject of this research, in order to produce an alternative reading of a heritage landscape most often associated with more traditional criteria. This research is framed and informed by more contemporary approaches to heritage values, and the intellectual foundation for this approach is drawn from recent scholarship and related heritage conventions. Of particular note are the Burra Charter (Australia ICOMOS 2013 [1979]) and the Faro Convention (Council of Europe 2005) which reconceptualize the ideas of significance and emphasize public contribution in the process of defining what it is about a heritage place that is significant. This thesis adopts an innovative, in-situ data collection method, where the participants lead the researcher on walks around the city. Interviews were conducted with 19 participants in three phases between 2021 and 2022. The interviews themselves are participant-defined and captured on video as well as audio. The resultant data are analysed, organized and presented thematically. This analysis demonstrates the pivotal role of social values in understanding significance from a grassroots perspective, an approach that has never previously been applied in the context of Valletta

    A critical appraisal of research in arts, health and wellbeing

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    In interviews study participants stated the importance of the arts, its value, and the contribution to improve their ... This review considered wellbeing as reported in the included studies at the individual and community levels

    2022-2023 Xavier University Undergraduate and Graduate University Catalog

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    https://www.exhibit.xavier.edu/coursecatalog/1275/thumbnail.jp

    Where is the learning between young people, teachers, and professional musicians? A study of learning cultures within three music education partnership projects in England.

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    Music education partnership projects (MEPPs) between schools and music organisations are a familiar form of enrichment which can open up new creative pathways. While professional musician involvement in education settings is not new, partnerships have become increasingly important. Despite the prevalence of and investment in partnership initiatives, there is limited research that explores participants’ experiences of learning in these contexts. Barriers include: a lack of communication and reflective practice; a culture of ‘victory narratives’; limited youth voice and competing partner agendas. Against this backdrop, social practices within MEPPs and the impact of MEPPs on learning is under researched, creating a cycle whereby learning, and how best to facilitate it, is commonly overlooked. In order to develop a richer understanding of learning within this phenomenon this research asks: where is the learning between young people, teachers, and professional musicians during MEPPs? To explore this further, research centred on a qualitative multiple case study of three MEPPs. MEPP1 aimed to support the development of a new school choir in a primary school while supporting one teacher’s choir leadership skills. MEPP2 and MEPP3 centred on young people composing music in collaboration with professional musicians. All three MEPPs culminated in sharing events in prestigious concert halls. Data were obtained through participant observations, document analysis, and semi-structured interviews with children and young people (YP), teachers, musicians, music organisation learning and participation (L&P) staff, and staff from partnering sponsors/charities. Following this, four elite interviews with leaders from Arts Council England, Youth Music, Arts Connect and one Music Education Hub (MEH) were conducted to gain broader perspectives on partnership working. The concept ‘learning cultures’, in other words, social practices through which people learn, supports analysis of MEPP participants’ learning. This is theoretically underpinned by Bourdieu’s concepts of habitus, capital, and field, which permits understandings of learning within MEPPs as influenced by multiple structural, contextual, and individual factors. The need for this theoretical approach is amplified in the context of MEPPs which, being at intersection of the music education and professional music fields, accommodate multiple institutions and individuals as well as multiple motivations, goals, and values. Key aspects which impact learning cultures within MEPPs include teacher identity, power relations, knowledge integration, access to authentic learning environments, legacy, communication, roles, and contextual awareness. There is a general consensus that practices of performing in prestigious venues and practices of modelling professional musicians are key benefits of MEPPs. Drawing on the empirical findings, this study concludes with a discussion on how to build effective learning cultures in future MEPPs. Altogether it is hoped that this study will inform efficacy in music education partnership working, raise awareness of the multidimensional nature of learning within MEPPs, and contribute to growing international research on collaborative music projects in schools
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