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You searched for subject:(Music as community). Showing records 1 – 3 of 3 total matches.

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University of Melbourne

1. O'GRADY, LUCY. The therapeutic potentials of creating and performing music with women in prison: a qualitative case study.

Degree: 2009, University of Melbourne

The aim of this research is to contribute ideas toward the possibilities of what music therapy can be, by examining the therapeutic potentials of creating and performing music within the context of an Australian maximum-security women’s prison. Until recently, music therapists rarely documented or explored the potential of performance for music therapy practice while some health professionals even suggested that performance is anti-therapeutic (See Maratos, 2004). Music therapists writing about their practices in forensic settings emphasise the therapeutic potentials of singing and song writing rather than performance and they predominantly approach these activities from a behavioural orientation. The almost singular theoretical approach to practising music therapy in forensic settings reflects a lack of relevant research. Consequently, the purpose underlying this research is to explore the therapeutic potentials of making and performing music with women in prison from an alternative perspective; namely humanistic rather than behavioural. The aim of this research is not only to examine previously undocumented processes in music therapy such as performance but also to contribute to the literature concerning the health and wellbeing of women in prison. The research was designed as a qualitative case study of a ten-week creative process involving seven women in prison who collaboratively created a musical together with artists from a theatre company. As a culmination of this ten-week process, the women in prison and the artists of the theatre company performed the musical to an audience of approximately 60 prisoners, prison officers, health professionals and prison staff. In order to examine the therapeutic potentials of creating and performing music in this case, post-performance interviews were conducted with the seven women who were in prison as well as with the artists involved in the theatre company. The researcher also wrote session notes throughout the ten-week process and these, as well as the interviews and five songs created during the ten weeks, comprise the data set for this study. The data was analysed using a variety of qualitative techniques chosen for their suitability to two main research tasks: 1) describing the case and 2) analysing the therapeutic potentials of creating and performing music in this case. In order to describe what happened collectively throughout the ten-week process, a content analysis was performed upon the researcher’s session notes. Phenomenological techniques of analysis were then applied to the interviews with the women in prison in order to describe the essence of each individual’s experience of the ten-week process. The five songs are presented in their original form as a way of further illustrating the case. In order to describe the work of the theatre company, techniques of grounded theory were used to analyse the interviews with the participating artists. Grounded theory analysis was…

Subjects/Keywords: music; music as therapy; theatre; creativity; community cultural development; women; prison

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

O'GRADY, L. (2009). The therapeutic potentials of creating and performing music with women in prison: a qualitative case study. (Doctoral Dissertation). University of Melbourne. Retrieved from http://hdl.handle.net/11343/35313

Chicago Manual of Style (16th Edition):

O'GRADY, LUCY. “The therapeutic potentials of creating and performing music with women in prison: a qualitative case study.” 2009. Doctoral Dissertation, University of Melbourne. Accessed June 17, 2019. http://hdl.handle.net/11343/35313.

MLA Handbook (7th Edition):

O'GRADY, LUCY. “The therapeutic potentials of creating and performing music with women in prison: a qualitative case study.” 2009. Web. 17 Jun 2019.

Vancouver:

O'GRADY L. The therapeutic potentials of creating and performing music with women in prison: a qualitative case study. [Internet] [Doctoral dissertation]. University of Melbourne; 2009. [cited 2019 Jun 17]. Available from: http://hdl.handle.net/11343/35313.

Council of Science Editors:

O'GRADY L. The therapeutic potentials of creating and performing music with women in prison: a qualitative case study. [Doctoral Dissertation]. University of Melbourne; 2009. Available from: http://hdl.handle.net/11343/35313


University of Oklahoma

2. Graessle, Ramona Kime. Adult music programming in member schools of the National Guild of Community Schools of the Arts.

Degree: PhD, School of Music, 1998, University of Oklahoma

The most frequently offered music activity was the private lesson. Music theory and chamber ensembles were offered at over half of the schools, and large ensembles and group instruction were offered at many schools as well. Performances were also given at most schools, including three-quarters of the schools that gave performances at off-site locations, most commonly at senior citizen centers, nursing homes and churches. Advisors/Committee Members: Paul, Stephen J., (advisor).

Subjects/Keywords: Music as recreation.; National Guild of Community Schools of the Arts.; Music Social aspects; Music.; Education, Music.; Adult education United States.; Music Instruction and study United States.

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Graessle, R. K. (1998). Adult music programming in member schools of the National Guild of Community Schools of the Arts. (Doctoral Dissertation). University of Oklahoma. Retrieved from http://hdl.handle.net/11244/5700

Chicago Manual of Style (16th Edition):

Graessle, Ramona Kime. “Adult music programming in member schools of the National Guild of Community Schools of the Arts.” 1998. Doctoral Dissertation, University of Oklahoma. Accessed June 17, 2019. http://hdl.handle.net/11244/5700.

MLA Handbook (7th Edition):

Graessle, Ramona Kime. “Adult music programming in member schools of the National Guild of Community Schools of the Arts.” 1998. Web. 17 Jun 2019.

Vancouver:

Graessle RK. Adult music programming in member schools of the National Guild of Community Schools of the Arts. [Internet] [Doctoral dissertation]. University of Oklahoma; 1998. [cited 2019 Jun 17]. Available from: http://hdl.handle.net/11244/5700.

Council of Science Editors:

Graessle RK. Adult music programming in member schools of the National Guild of Community Schools of the Arts. [Doctoral Dissertation]. University of Oklahoma; 1998. Available from: http://hdl.handle.net/11244/5700

3. Dupuis-Desormeaux, Nathalie. TUTTI! - Music Composition as Dialogue.

Degree: PhD, Music, 2018, York University

As an engineer, when I could not comprehend a physical phenomenon, I turned to mathematics. As a mathematician, when I could not link sciences to humanity, I turned to music. As a music composer, I no longer see things, I see others. The novel method of music composition presented herein is a first comprehensive framework, system and architectonic template relying on the ideologies of Mikhail Bakhtin's dialogism as well as on research in auditory perception and cognition to create music dialogue as a means of including and engaging participants in musical communication. Beyond immediate artistic intent, I strive to compose music that fosters inclusiveness and collaboration as a relational social gesture in hope that it might incite people and society to embrace their differences and collaborate with the 'others' around them. After probing aesthetics, communication studies and sociology, I argue that dialogism reveals itself well-suited to the aims of the current research. With dialogism as a guiding philosophy, the chapters then look at the relationship between music and language, perception as authorship, intertextuality, the interplay of imagination and understanding, means of arousal in music, mimesis, motion in music and rhythmic entrainment. Employing findings from Gestalt psychology, psychoacoustics, auditory scene analysis, cognition and psychology of expectation, the remaining chapters propose a cognitively informed polyphonic music composition method capable of reproducing the different constituents of dialogic communication by creating and organizing melodic, harmonic, rhythmic and structural elements. Music theory and principles of orchestration then move to music composition as examples demonstrate how dialogue scored between voice-parts provides opportunities for performers to interact with each other and, consequently, engage listeners experiencing the collaboration. As dialogue can be identified in various works, I postulate that the presented Dialogical Music Composition Method can also serve as a method of music analysis. This personal method of composition also supplies tools that other musicians can opt to employ when endeavouring to build balanced dialogue in music. If visibility is key to identity, then composing music that potentially enters into dialogue which each and every voice promotes 'humanity' through inclusivity, yielding a united Tutti ! Advisors/Committee Members: Coghlan, Michael (advisor).

Subjects/Keywords: Cognitive psychology; Music composition; Polyphonic music composition; Cognitively informed polyphonic music composition; Dialogical Music Composition Method; Dialogic music composition method; Music theory; Dialogic contrapuntal harmony; Orchestration; Melody; Harmony; Polyphony; Counterpoint; Rhythm; Form; Growth; Music architecture; Music analysis; Dialogue; Music dialogue; Dialog; Music dialog; Dialogism; Bakhtin; Reception theory; Gadamer; Kant; Hegel; Adorno; Schoenberg; Stravinsky; Hindemith; Toch; Huron; Bregman; Francès; Dialogic communication; Music communication; Musical communication; Compelling music; Inclusion; Inclusivity; Inclusiveness; Participation; Participatory music; Music as society; Music as community; Music sociology; Engaging music; Engagement; Collaboration; Balanced dialogue in music; Biophony; Niche discrimination; Krause; Communication studies; Language; Music aesthetics; Aesthetics; Philosophy of music; Musicology; Cognitive psychology; Auditory perception; Music cognition; Cognition; Psychology of perception; Reception; Music reception; Auditory streaming; Auditory scene analysis; Gestalt psychology; Authorship; Imagination; Intertextuality; Mimesis; Appropriation; Appropriative authorship; Authoring; Re-authoring; Imagination as creation; Psychoacoustics; Expectation theory; Theory of expectation; Expectation; Psychology of expectation; Tutti; Music arousal; Intellectual arousal; Emotional arousal; Sensory arousal; Entrainment; Physicality; Stability; Variety; Closure; Uniqueness; Sequential dialogue; Collaborative dialogue; Disjoint dialogue; Surprise; Drama; Dramatic structure; Structure of drama; Dramatic work; Freitag; Representation; Memory; Repetition; Experience; Anticipation; Pointing; Anchoring; Anchor; Tonality; Tonal anchor; Close neighbors; Individuality; Collectivity; Formalism; Functionalism; Subjectivity; Structuralism; Cohen; Marburg; Auditory learning; Style; Conventions; Acculturation; Semiotics; Dynamic expectation; Schematic expectation; Veridical expectation; Symmetry; Motivic repetition; Thematic repetition; Style analysis; Modulation; Modulation tools; Memory as experience; Familiarity; Redundancy; Compositional acculturation; Rimsky-Korsakov; Gevaert; Rameau; Bimodality; Bi-modality; Diatonic; Overtones; Perceptual motion; Pitch proximities; Harmonic motion; Polytonality; Polyrhythm; Contemporary music; Art-music; Western art music; Neoclassicism; Modernism; Inclusive dialogue; What makes music compelling?; Selection and Structuring of Music Parameters to Create Inclusive; Engaging and Participatory Dialogue in Music Composition; Performance; Performativity; Small; Musicking; DeNora; Include; Engage; Listener; Audience; Interpretation; Play; Interaction; Interactive; Performer; Conductor; Orchestra; Orchestral music; Instrumental music; Absolute music; Tone painting; Word painting; Singing; Empathy; Mirror neuron; Music meaning; Music expression; Hanslick; Meyer; Langer

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APA · Chicago · MLA · Vancouver · CSE | Export to Zotero / EndNote / Reference Manager

APA (6th Edition):

Dupuis-Desormeaux, N. (2018). TUTTI! - Music Composition as Dialogue. (Doctoral Dissertation). York University. Retrieved from http://hdl.handle.net/10315/34488

Chicago Manual of Style (16th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Doctoral Dissertation, York University. Accessed June 17, 2019. http://hdl.handle.net/10315/34488.

MLA Handbook (7th Edition):

Dupuis-Desormeaux, Nathalie. “TUTTI! - Music Composition as Dialogue.” 2018. Web. 17 Jun 2019.

Vancouver:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Internet] [Doctoral dissertation]. York University; 2018. [cited 2019 Jun 17]. Available from: http://hdl.handle.net/10315/34488.

Council of Science Editors:

Dupuis-Desormeaux N. TUTTI! - Music Composition as Dialogue. [Doctoral Dissertation]. York University; 2018. Available from: http://hdl.handle.net/10315/34488

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