Sparks of laughter : suggestions to toastmasters how to tell a funny story.

Compiler: 1921- Stewart Anderson.

Att marknadsföra med musik : en studie kring musik i reklamfilm och en artistprofils påverkan på ett varumärke

Due to the current digitalization of the music industry it has become more important than ever for musicians to get their music placed in advertising. This process is frequently described as a win-win situation for both sides: the musician gets money and exposure while the brand gets to ride on the musician’s pop-cultural position in society. The following thesis is focused on identifying the different ways brands work with music in their TV-advertising, and what effects the brand of the featured artist might have on the brand itself. Using text analysis, six advertisements all shown on Swedish TV during the first half of 2016 were analyzed, with the result that four major recurring themes were identified: nostalgia, text-related usage, making the advert memorable and making the advert into entertainment. The study also found three ways in which a band profile could serve a brand: (I) to make the advert an artifact of popular culture, (II) to let the brand ride on the bands success, (III) to give credibility to the brand. The study was based on brand theory, sensory branding and semiotics as well as David Hurons theory on the different usages of music in advertising. 

Through a Literary Lens: The Effect of Jean Paul and E.T.A. Hoffmann’s Writing Styles on the Compositional Techniques of Robert Schumann

Thesis (D.M.A.)--University of Washington, 2016-06

Special Features of Musical Education in Distant Learning (Training of Intonation Thinking)

The problem of using modern technologies in distant learning of intonation thinking is described in this article. An importance of intonation learning for musician students and the possibilities, provided by World Wide Web and multimedia technologies are the main point of this article.

Pau e lata para uma educação musical: uma partitura de vidas

The field of experience and reflection in this dissertation is the Pau and Lata: Artisticpedagogical project and its activities in the field of music education It was created in 1996, by the Community School Sementes da Luz, located on Tabuleiro do Martins district, Maceió / AL. The work extended to the Rio Grande do Norte and later returned to Alagoas, keeping their activities in both states, involving approximately 280 people. The issues that moved us front the experience of Pau e Lata were: What are the main references and theoretical-methodological elements that constitute the formation of the musician in Pau e Lata? How members perceive this project and include themselves in the educational process of music formation? How it works and what is the meaning of the use of instruments and the learning of musical writing and reading? These questions lead us to undertake this dissertation, in order to deepen reflection on the processes of musical training on Pau e Lata, relating the experiences of its members in the process and the theoretical references governing their educational practice. In this sense, we outline the research objectives, which are: describe the Pau e Lata project, focusing on their context of action and their methodological processes; investigate the relationship between the effective participation of its members in the process of composition of the artistic and pedagogical repertoire and its performance in the field of cultural militancy in the environment where it operates. The writing process of this research is based on the phenomenological perspective. Therefore constitute our methodological research path two roads that communicate: 1) the organization and description of historical record of Pau e Lata (supporting documents, certificates, posters, etc.) and memories of the researcher and from other members of the group. 2) the formation of focal groups and writing and sending, via online, testimonials the participants of Pau and Lata relating to issues scrap and onomatopoeia, respectively. Participated in this process 11 components, adding the presence of the researcher, with the age between 21-45 years, all members of Pau e Lata, Core UFRN. The results of this research are focused on the discussion of three axes that describe and guide the work of the Pau e Lata: collective work, the use of the scrap as instrument and the onomatopoeia as base of a methodological process of musical training. This score was composed of three parts. The first part is presented from a collection of references from Pau e Lata, composed of printed and videographic records. The second part refers to the instrument used by Pau e Lata, and the perception of group members on these instruments, which occurs so that they are integrated in the training of the musician.The third axis tells how and what it means learning of music writing and reading, that occurs in two related aspects: the teaching-learning process and the body as a musical element in this process, associated with other actions characterized as studies and theoretical deepening

CONSTRUÇÕES IMAGINÁRIAS NO CONTEXTO DE UM FENÔMENO MUSICAL DE MASSA: O CASO DO CANTOR MICHEL TELÓ

Estudo sobre o processo de construção imaginária do público de gênero feminino ao consumir os produtos dos fenômenos musicais de massa, no Brasil. Tendo como base o caso do sucesso do cantor Michel Teló, representante do gênero musical sertanejo universitário, o objetivo é compreender o processo de construção imaginária que permeia a relação do público feminino (fãs) e consumo do gênero musical sertanejo universitário, a partir do discurso do cantor Michel Teló. Para tal, será tomado referencial teórico do campo dos Estudos Culturais em diálogo com estudos sobre imaginário e música de massa. A análise do discurso, de linha francesa, é a metodologia empregada em duas instâncias para se testar as reflexões construídas com a base teórica: a priori, a partir de um processo de observação participante, durante um espetáculo do artista, em que será observada a interação entre “fenômeno” e público, no momento de execução da sua música “Ai, se eu te pego!”; e, doravante, o discurso do músico é analisado, por meio de entrevistas realizadas em programas televisivos. Um questionário aplicado a uma amostra entre o público feminino apreciador do cantor e de suas músicas contribui ainda no aprofundamento da reflexão. Resulta desta pesquisa a compreensão da proeminência do discurso ao conteúdo. Desta maneira, a importância maior se encontra na forma com que o cantor dialoga com seu público, por meio da imagem que ele constrói em torno de si.

Managing chronic widespread pain in primary care : a qualitative study of patient perspectives and implications for treatment delivery

Funding The MUSICIAN trial was supported by an award from Arthritis Research UK, Chesterfield, UK. Grant number: 17292. The funding body approved the design of the study. They played no role in the collection, analysis, and interpretation of data or the writing of the manuscript.

Music teacher biography and its impact on teaching practice

This paper describes research carried out as part of a wider doctoral study on ‘the biography of music teachers, their understanding of musicality and the implications for secondary music education’. Music teachers will come from a range of diverse backgrounds, though research data would suggest that most seem to have been educated as ‘classical’ music performers which will have an affect on what they perceive to be central competencies in the development of young musicians. In turn, this will determine, to some extent, what is taught and learned in the secondary music classroom. This study explores the impact of the biography of secondary music teachers as they seek to develop the musicianship of their pupils and present the activities in which the young people will be expected to participate. A mixed methods approach has been taken, including surveys, observation and interviews. Surveys amongst a sample of experienced and trainee teachers have produced a range of quantitative data on respondents’ experience of and values related to music education; whilst qualitative data in the form of lesson observation notes and transcription of semi-structured interviews have been the result of working with a small sub-set of participants. The outcomes of study have suggested a clear link between biography and classroom practice but that there are also other potential tensions which arise, such as in the subject knowledge development of practitioners as they move from musician to teacher. Implications for a variety of stakeholders in secondary music education include a consideration of the development of subject knowledge together with potential review of national and local education policy, the nature of undergraduate music study and the ‘shape’ of initial teacher training in England.

Approaching and Executing Premiere, Interpretive, and Historical Works

The spectrum of vocal music spans time, genres, styles, and is infinitely vast. New works are ever evolving and expanding, new artistic ideas are revealed from older works, and interest renewed from the tried and true. As a vocal musician in present day, I aspired to find a common thread amidst the boundless spectrum of works to be performed—whether I was hearkening back to a time of old, dissecting pieces by composers who have opened the door to personal artistry, or learning to sing a new work never performed or heard before. The Mercuriality of Song unearths more differences than commonalities in preparation, despite the fact that my voice remains the constant— differences which were expected, often surprising, but nevertheless new and rewarding in their challenges. Three performances (a world-premiere, a lieder recital, and an early music recital) comprise the basis for my investigation into comparing methods and processes of different periods via program notes, laying the foundation for initial preparation from an historical context. An amalgam of genres and stylistic differences along with performance planning culminate this exploration of vocal discovery and implementation.

Move, for string quartet, piano, percussion and electronics

MOVE is a composition for string quartet, piano, percussion and electronics of approximately 15-16 minutes duration in three movements. The work incorporates electronic samples either synthesized electronically by the composer or recorded from acoustic instruments. The work aims to use electronic sounds as an expansion of the tonal palette of the chamber group (rather like an extended percussion setup) as opposed to a dominating sonic feature of the music. This is done by limiting the use of electronics to specific sections of the work, and by prioritizing blend and sonic coherence in the synthesized samples. The work uses fixed electronics in such a way that allows for tempo variations in the music. Generally, a difficulty arises in that fixed “tape” parts don’t allow tempo variations; while truly “live” software algorithms sacrifice rhythmic accuracy. Sample pads, such as the Roland SPD-SX, provide an elegant solution. The latency of such a device is close enough to zero that individual samples can be triggered in real time at a range of tempi. The percussion setup in this work (vibraphone and sample pad) allows one player to cover both parts, eliminating the need for an external musician to trigger the electronics. Compositionally, momentum is used as a constructing principle. The first movement makes prominent use of ostinato and shifting meter. The second is a set of variations on a repeated harmonic pattern, with a polymetric middle section. The third is a type of passacaglia, wherein the bassline is not introduced right away, but becomes more significant later in the movement. Given the importance of visual presentation in the Internet age, the final goal of the project was to shoot HD video of a studio performance of the work for publication online. The composer recorded audio and video in two separate sessions and edited the production using Logic X and Adobe Premiere Pro. The final video presentation can be seen at geoffsheil.com/move.

Tapes, Transgression and Mundanity: the participatory engenderment of death metal and grindcore

Since its origins in the early 1980s, the popular rise of extreme metal throughout the globe has been phenomenal. The emergence of extreme metal's most sonically transgressive subgenres of death metal and grindcore between the mid 1980s and the early 1990s, however, was not an easy one. Indeed, during this period, the only way for globally dispersed extreme metal fans and unsigned extreme metal bands to stay musically connected was via the underground practice of tape-trading. The aim of this study is to illuminate the impact of tape-trading upon the global spread of extreme metal. The study will situate the historical context of extreme metal tape-trading by exploring how it emerged, and why it was necessary in the first place. Utilising the concept of 'extreme metal scene', the study will focus on the central scenic discourse of transgression and explore how this was negotiated into the mundane scenic practice of tape-trading. In relation to this, and utilising the concept of participatory culture, the study will further explore how the music arose and spread throughout the globe via the socially networked practice of both musician and non-musician tape-traders in relation to the tape cassette technology itself. Ethnographic interviews were undertaken with both types of traders in order to gain a deeper understanding of the phenomenon in question. The research concludes that the tape-traders were able to challenge the status quo of record company gatekeepers, by facilitating the engenderment and global distribution (including the later commercial distribution) of death metal and grindcore. Such powerfully affective music via its continual global spread, offers as it did for the original tape-traders, a pleasurable and empowering communal/personal space for disempowered people throughout the globe. Further research into extreme metal tape-trading would require deeper exploration into other extreme metal subgenres, especially black metal, tape-traders situated outside of North America and Europe, women tape-traders as well as exploration of the phenomenon after the early 1990s.

Robert Edward’s Commonplace Book: the context and function of a seventeenth-century Scottish music manuscript (GB-En MS.9450), with an edition of the musical content

This study concerns the manuscript music book of Robert Edward (c. 1614–c. 1697), minister, author and musician. The manuscript, formerly part of the library at Panmure House, is now held in the National Library of Scotland and is commonly referred to as ‘Robert Edward’s Commonplace Book’ (GB-En MS.9450). The present study is in two parts and begins with an exploration of the physical book, including the structure, compilation, hands and ownership before a second chapter explores the biography of the eponymous owner, contextualising GB-En MS.9450 locally and nationally. The third chapter concerns the function of the manuscript which, it is argued, is closely related to pedagogy. The final three chapters discuss the content of the manuscript, taking in turn the vocal music, instrumental music and the selection of Italian three-part villanelle. The implications for dating and use arising from the first part of this

Criteria for graphic representation in musical scores: Visual elements in musical scores

A interdisciplinaridade entre a música e as artes visuais tem sido explorado por conceituados teóricos e filósofos, embora não exista muito na área da interpretação visual do grafismo de partituras musicais. Este estudo investiga como os grafismos na notação e símbolos musicais afectam o intérprete na sua transformação em som, com referência especial a partituras contemporâneas, que utilizam notação menos convencional para a criação de uma interpretação por sugestão. Outras relações entre o som e o visual são exploradas, incluindo a sinestesia, a temporalidade e a relação entre obra de arte e público. O objectivo desta dissertação é a de constituir um estudo inovativo sobre partituras musicais contemporâneas, simultaneamente do ponto de vista musical e visual. Finalmente, também vai mais longe, incluindo desenhos da própria autora inspirados e motivados pela música. Estes já não cumprem uma função de notação convencional para o músico, embora existe uma constante possibilidade de uma reinterpretação. ABSTRACT; The inter-disciplinarity between music and visual art has been explored by leading theorists and philosophers, though very little exists in the area of the visual interpretation of graphic musical scores. This study looks at how the graphics of musical notation and symbols affect the performer in transforming them into sound, with particular reference to contemporary scores that use non¬conventional notation to create an interpretation through suggestion. Other sound-visual relationships are explored, including synaesthesia, temporality and the interconnection between work of art and audience or public. This dissertation aims to be an innovative study of contemporary musical scores, from a musical as well as visual perspective. Finally, it takes a step further with drawings of my own, directly inspired and motivated by the music. These no longer fulfil a conventionally notational function for the musician, yet the potential for a re-interpretation is ever-present.

Proposta de didática da percussão para o ensino especializado da música

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música

Proposta de didática da percussão para o ensino especializado da música

Relatório de Estágio para a obtenção do grau de Mestre em Ensino da Música